in  Iw^  Umumes 


Clarence  tdd 


.■_j-«. 


Tb^Jo-bnCburcbCompany 


LuncuD 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


r 


A  METHOD  FOR 
PIPE  ORGAN 

BY 

CLARENCE  EDDY 


A  SERIES  OF  ONE  HUNDRED  GRADED 
LESSONS  IN  TWO  VOLUMES 

VOL.  II 


PRICE.  $3.00  EACH.  NET 


THE  JOHN  CHURCH  COMPANY 

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Copyright  MCMXVII  by  The  John  Church  Company 
Intemaiional  Copyright 


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HIBRARY 

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Preface 


These  one  hundred  lessons  for  the  organ  are  designed  especially 
for  students  who  have  already  acquired  a  sound  knowledge  of  the 
rudunents  of  music,  and  who  are  familiar  with  the  key  signatures,  the 
construction  of  major  and  minor  scales,  elementary  harmony,  etc., 
and  who  have  obtained  facility  in  playing  all  the  major,  mmor,  and 
chromatic  scales,  etc.,  upon  the  pianoforte — in  other  words,  a  mastery 
of  finger  technic  covered  by  the  third  or  fourth  grades  of  pianoforte 
playing,  without  which  it  would  be  impossible  to  develop  any  great 
degree  of  skiU  upon  the  organ. 

In  these  lessons  considerable  space  has  been  allotted  to  the  use 
of  both  feet  in  pedal- playing,  the  correct  position  of  the  pupil  at  the 
organ,  the  height  of  the  bench,  etc.,  the  free  and  independent  use  of 
both  feet  in  playing  the  pedals,  the  employment  of  both  toe  and  heel, 
the  various  kinds  of  touch,  and  the  paramount  importance  of  a  perfect 
legato.  The  combination  of  pedal  and  manual  playing  is  then  taken 
up,  and  a  study  of  rhythm,  accentuation  and  phrasing  is  given 
particular  attention. 

A  table  and  description  of  the  various  stops  and  mechanical 
accessories  to  be  found  in  the  most  modem  organs  will  be  seen,  to- 
gether with  numerous  examples  connected  with  the  selection  and  use 
of  those  stops,  couplers,  etc.  The  proper  management  of  the  swell 
pedals,  the  use  and  abuse  of  the  tremulant,  and  the  different  methods 
employed  for  playing  with  expression. 

Practical  examples  are  given  in  hymn-tune  playing,  trio  play- 
ing, etc.,  dignity  of  style,  taste  in  registration,  the  means  for  ob- 
taining the  greatest  variety  of  effects  upon  the  organ,  as  contrasted 
with  those  employed  upon  the  pianoforte. 

Unusual  attention  has  been  paid  to  the  important  subject  of 
phrasing,  and  many  practical  illustrations  are  given. 

In  connection  with,  and  immediately  following,  the  above  Method 
for  the  Pipe  Organ,  there  will  shortly  appear  Standard  Compositions 
for  the  Organ,  with  Special  Interpretative  Annotations  by  Clarence 
Eddy,  in  two,  or  more  volumes. 

These  compositions  will  be  analyzed  and  minutely  fingered, 
pedaled  and  phrased,  with  their  appropriate  registration,  various 
marks  of  expression,  and  the  proper  metronomic  indications. 

Clarence  Eddy. 


INDEX 


Lesson  No.  56      page     5 


57 
58 
59 
60 
61 
62 
63 
64 
65 
66 
67 
68 
69 
70 
71 
72 
73 
74 
75 
76 
77 


9 
13 
17 
22 
27 
31 
36 
41 
47 
50 
54 
58 
62 
69 
75 
81 
88 
94 
100 
106 
113 


Lesson  No. 

78 

page 

119 

« 

<« 

79 

<1 

125 

11 

C« 

80 

44 

128 

« 

C( 

81 

44 

130 

<« 

41 

82 

« 

135 

<• 

f< 

83 

44 

141 

If 

1« 

84 

(4 

144 

«> 

l< 

85 

44 

150 

«• 

K 

86 

(4 

154 

«( 

« 

87 

44 

158 

•1 

(f 

88 

44 

161 

4« 

<« 

89 

44 

168 

« 

« 

90 

41 

174 

« 

•  ( 

91 

44 

179 

(1 

t< 

92 

44 

186 

« 

«< 

93 

44 

192 

<l 

<( 

94 

(1 

199 

«4 

<l 

95 

44 

206 

•  1 

(i 

96 

44 

213 

l< 

<( 

97 

44 

220 

l< 

«« 

98 

44 

227 

«< 

l< 

99 

44 

233 

•« 

41 

100 

44 

239 

Lesson  N9  56 


Phrasing:  (Continued) 

An   elastic   swing  of  the  triplet  movement  in  the  Prelude  in   C   major  by  J.  S.  Bach 
(Vol.  2  No.  8)  is  preserved  by  strongly  defining  the  individual  phrases  in  the   following 
manner.     Avoid  however  any  exaggerated  shortening  of  the  final  note  of  each  phrase: 


i 


n^).^.^ 


^ 


¥ 


mwffi 


Izsw^pW 


trm 


p 


^ 


:2= 


^r  v}   p 


m 


The  theme  of  the  Fugue  which  follows,  consists  of  one  unbroken  phrase,  and  is  given 
out  by  the   alto: 


w 


f 


T: 


u. 


I79II 


6 

It   appears  twice  in  the  pedal  part  towards  the  .close  in  augmented  and  inverted   form, 
as  follows; 


^):     r-'     F 


^ 


^ 


S 


^« 


The  great  charm  of  the  Prelude  in  A  minor  by- 
Bach  (Vol.  2  No. 8)    lies  in  its  smoothness  and 
evenness,  as  well  as  in  its  steadiness  of  time  and 
rhythm,  rather  than  in   any  particular  art     of 
phrasing,  nevertheless  a  definite  grouping  of  the 
various  melodic  figures  is  essential  to  its  clear- 


ness of  form  and  proportion. 

The  Prelude  should  be  played  throughout  in  . 
a  moderately  rapid  tempo,  and  interpretated  in  the 
following  rhythmical  style,  with  special   accents 
upon  the  first  and  third  beats  of  each  measure: 


The  triplets  which  follow  should  be  phrased  in  this  manner : 


These  are  succeeded  by  the  following  groups  of  four  sixteenths: 


and  the  following  triplets  are  p'ayed  thus: 


,F^/ff/:rn  /^j 


m.d. 


^M 


^ 


J— 7^  i^  yj 


m.g. 


I7SII 


The  question  and  answer  effect  of  the  following  passage  should  be  boldly  stated, 


* 


i=r 


m?mv- 


m 


^m 


^ 


w^ 


m 


M 


Wu 


Fed.       ^^a 


S 


^ 


^j^  ^m^i  j<  « 


^ 


^^^m 


and  the  pedal  solo  phrased  as  follows: 


^ 


i 


^mi^^^^:M 


It  is  recommended  that  the  theme  of  the  Fugue  be  phrased  in  the  following  manner,  at  a 
moderately  rapid  tempo; (J' =144) 


j,i;  T^mo_?m^m^m^^^ 


s 


The  final  pedal  passage  comes  out  most  clearly  when  phrased  in  this  manner: 


m 


m 


^^ 


/•— .    /  z 


9^1^ 


I79II 


8 


PRELUDE  IN  D  MAJOR 


Sw.   .  full. 
Prepare  <(  Gt .    _  8'  and  4'    Sw.  to  Gt. 

Pfd.-  16'  and   8'    Gt.and  Sw.  to  Ptd. 


Andante  con  moto. 


JOHANN  CHRISTIAN  KITTEL 
(1732  -  1809) 
(Last  Pupil  of  Johann  Sebastian  Bach) 

Edited  by  Clarence  Eddy 


Manual 


Pedal 


fTf 


GtA-- 


^S 


9=  ci  ^_ 


fff 


EH 


# 


m 


rrr 


f-nr 


i^ 


m^ 


m.g. 


^ff 


m, 


v^=s- 


.ii-J^ 


i 


A         A 


o^A^ 


:a 


i 


# 


^ 


i_J 


I 


B 


^'i — # 


5S 


#^ 


«=^ 


i»-»-i»- 


cr 


um 


I 


m 


m 


22 


^;-fa   I     J  "^f^ 


A  o 


i 


HI 


xn 


xe: 


331 


A;>— _2_ 


i;9ii 


9 


Lesson  N9  57 


Phrasing^  (Continued) 


The  great  Prelude  and  Fu^ue  in  E  minor  by 
J.S.Bach(Vol.2  NoJ))  are  both  heroic  in  charac- 


themes  denote  therefore  great  strength    when 
played  with  breadth  and  dignity,  the  Prelude 


ter  and  of  gigantic  proportions.     The   various      j     opening  in  the  following  stately  nianner: 


The  same  strength  of  character  is  also  felt  in  the  following  measures; 


I7SII 


10 


a  sense  of  determined  vigor  will  be  seen  in  the  following: 


m 


tefi 


u 


# 


w 


^ 


1^^ 


^^^ 


s 


and  pf  wonderful  solidity  in  the  following   pedal  passage; 


With  the  above  material  Bach  has  built  up  a 
most  imposing  musical  structure. 

The  theme  of  this  Fugue  has  been  desig- 
nated as'  the  wedge  theme'' on  account  of  its 


suggested  appearance,  inasmuch  as  it  starts 
out  with  a  single  note,  and  gradually  expands 
to  the  interval  of  an  octave: 


I79II 


11 


This  first  section    should  be  played  perfectly  legato, but  with  an  accent  upon  the   first 
of  each  phrase  of  four  notes,  thus: 


i 


* 


V ^  J  i^JZB k->^^  hrl: ^rji ^ 


The    second    section   then  follows  in  one  phrase,  namely: 


^- 


"TT 


The  entire  theme   therefore  is  as  follows,  and  should  be  phrased  accordingly: 


* 


E 


i  V^k 


3 


f 


^ 


^•. 


331 


The  second  division  of  the  Fugue, consisting  ofamore  rapid  figuration  in  sixteenth  notes, 
smoothly  and  evenly  played,  but  with  the  same  rhythmical  swing,  as  follows: 


^1 


^S 


^M 


a— rn  aar. 


Hif'    rJwiW. 


I79II 


12 


TWO-PART  FUGUE  IN  D  MAJOR 


Pre  pare 


Svv.  -   8'  and  4' 

Gt.  -    8'  and  4'    Sw.  to  Gt. 


Allegro  moderato    (J  =  104) 


G.  F.  HANDEL 

Edited  by  Clarence  Eddy 


Manual 


E 


Gt.  (both 


P 


I 


P — m — 0- 


hands) 


^ 


^ 


T 


i 


k^f      h 


r*^ 


S 


# — a — P- 


^ 


^^ 


<S^ 


* 


fe 


^  ^  r  , 


iS^ 


^ 


# — * — (» 


p 


i 


^ 


p 


^^ 


^^^ 


^;: 


i 


E 


i9- 


^ 


^ 


^ 


ag 


* 


*£i 


jz: 


nz 


-^ 


S^ 


m    p    m 


\'''P=-^ 


i 


fS^ 


1[^  r r 


^^^ 


i 


^ 
^ 


1 


^ 


/vy 


TT 


^ 


XT 


-O- 


I7SII 


13 


Lesson  N9  58 


Phrasing-  (Continued) 


The  Prelude  and  Fugue  in  B  minor,  J.  S.Bach, 
(Vol.  3  No.  10)  occupy  a  position  of  the  highest  im- 
portance among  the  Giant  compositions  lor  the  Or- 
gan by  the  great  Johann  Sebastian  Bach.  The  Key- 


note lies  in  the  bold  opening  theme  of  the  Prelude, 
which  must  be  played  in  moderato  tempo  as  a 
single  phrase: 


^  ^^    M  Li  FF?^ 


W^ 


The  long  appoggiatura,  or  grace  note  d,  receiving  an  accent  and  being  executed  precisely  like    a 
sixteenth  note: 


h  n  r 


Observe  the  phrasing  in  the  following  measures, and  do  not  hurry  the  tempo: 


'>--h  I)    fifr^rfrfr  r^^^^^ 


The  motive  of  the  episode  is  sometimes  phrased  as  follows: 


I79II 


14 


A  simpler  and  less  affected  phrasing  however,  would  be  more  in  keeping  with  the  true  dignity 
of  the  composition,  thus: 


i 


w 


^ 


m 


? 


^ 


^ 


m 


^ 


^^''jj 


fe=^ 


*■ 


fe 


^ 


The  long  passages  in  thirty  second  notes  should  be  uniformly  grouped,as  follows: 


In  the  following  measures  sharply  define  the  phrases  of  two  notes: 


y'^f- 


■'■'i  i  •"    •'•    '        •''    u    ^ 


^=f 


I79II 


15 


P-H    K  >       >^ 


^ 


^ 


V         */  ^ 


£ 


The  Fugue,  consisting  of  three  divisions,  the  second  of  which  being  a  lengthy  episode,is  construct- 
ed upon  two  very  powerful  and  important  themes,  namely: 


1 

j^  V    ....  1  1  1  1 — ------ 

^ 

-# — 

r 

m 


yit.i  ,aj4=f^ir;^/r  I 


The  entire  theme  should  be  played  strictly  legato,  with  merely  a  stress,  or  accent,  upon  the   first 
and  third  beats  of  each  measure,  for  the  sake  of  emphasizing  its  rhythm: 


fc 


S 


J 


#^ 


The  second  theme  however,  must  be  grouped  as  follows,  with  a  tenuto  accent  upon  the  quarter  notes; 


p^LMi^^.^ 


I79II 


16 


ANDANTINO  IN   B  FLAT 


Sw.    Soft    8'  &  4' 
Prepare  iGi.     Soft  8',    Sw.  to   Gt . 

^Ped.  Soft   16',    Sw.  to  Fed. 

Aiidautiuo  (J 


M.  G.  FISCHER 

Edited  by  Clarence  Eddy 


Manuals 


Pedal 


I 


^/^r 


Sw. 


P 


m 


^ 


»-*- 


i. 


i 


w 


^i 


^ 


* 


M^ 


^ 


Hi 


3^  r^ 


^ 


h^d 


TT- 


Ufn 


17 


Lesson   N9  59 


Phrasing-  (Continued) 


In  the  Peters  Edition  of  the  Prelude  in  E 
flat  major  by  Bach  (Vol.3  No.l)  there  is  a 
certain  attempt  of  phrasing,  but  it  is  incon  - 


sistent  and  very  confusing.  For  instance  we 
find  the  same  figuration  phrased  in  two  dif- 
ferent ways,  namely: 


">-n''i  r  r-rr-n^ 


>\y    tjd        J'=^b 


The  second  is  more  nearly  correct ,  but  it  should  however  be  phrased  as  follows; 


i9 # 


^m 


In  another  instance  the  following  phrasing  is  given: 


aK^ 


2=12: 


to  be  contradicted  further  on  by  the  following  grouping 


=7=^ 


^^ 


S" 


i 


rn  I  v^  m,„j^T^^ 


f 


17)11 


18 

The  logical   phrasing  would  seem  to  be 
determined  by  the  character  of  the  first  four 
measures,  in  which  the  first  beat  in  each  meas- 


ure receives  a  primary  accent,   and  the  third 
beat  a  secondary  accent,  thus: 


i!''",:^!  hci 


^k 


fe 


]i"'  I  ^  f 
1 


f^ 


^ 


r — ^^ 


I 


^ 


o 


o 


^ 


3x: 


i  rMF 


^m 


#^ 


f 


The  following  measures  therefore  should  be  phrased  in  a  similar  manner,  thus  carrying 
out  a  uniform  rhythmical  idea: 


"  m  C 


^^^ 


^      T^flpJ  ^  V?  ii|  J  {      7?ii 


^ 


^ 


? 


^ 


The  first  theme  of  the  episode  is  written   thus: 


^ 


^m 


^^ 


¥^f 


=P 


I79II 


19 


In  order  however  that  the  staccato  notes  may  not  be  too  short,   it  would   be  better 
to  play  them  marcato,  thus:  _ 


cU'"  -j  ^  -^  J 


^m 


^ 


w.  r  f 


^ 


/W 


m 


f 


^m 


? 


The  succeeding  passage  should  be  phrased  as  follows: 


i,|'i.  I  ^T/'  >^ 


r 


\-.m^j 


f 


? 


# 


r   f     r' 


s 


a 


^^^^^ 


•hi'i.  r   r   r 


^ 


SE5 


*       * 


iJ     ^Jrr; 


m 


and  the  second  theme  of  the  episode  in  this  manner: 


I'll  •'   r   - 


^ 


^^ 


rm 


L^ 


^^ 


r     r     r 


* 


m 


I7SII 


47—^ 


t^B^ 


* 


mij^/^ 


r 


^ 


P 


p 


«0 


PRELUDE  IN  B    FLAT 

Constructed  upon  the  scale  of  B  flat   major 


Sw.    Soft  8' with  Oboe 
Prepare    JGt  .    Fl.  8 

'Ped.  Soft  16' and  8' 


Andante  con  moto  (J  r  84> 


A    MUHLING 
Edited  by  Clarence  Eddy 


Manuals 


Pedal 


i 


Sw 


^ 


Gt. 


KEf 


^ 


^ 


^ 


¥=0- 


^ 


i 


p-n- 


P 


! 


^ 


^ 


i 


^ 


-g_^ 


^ 


s 


t^i 


^ 


if 


g 


A 


zs: 


-o- 


-«- 


^ 


I79II 


«1 


PRELUDE  IN  D  MAJOR 


J.  G.  ALBRECHTSRERGER 
Edited  by  Clarence  Eddy 


Moderato 


I 


fe 


Manuals 


Gt.  t  Sw./" 


')■■  h  It  r  r 


fc=i 


^ 


^1 


=p^ 


£ 


s 


^ 


« 


h^ 


g — ^i; 


»f 


Pedal 


F%^ 


* 


ii 


s:: 


V     ^n 


f^ 


TV 


S 


-O- 


^2.       > 


"Tjr 


^1^ 


^^ 


a      ^    J 


^ 


^I 


^ 


-O- 


zz: 


S 


A  o 


A     „ 


'% 


^ 


-o- 


^^ 


^ 


331 


xn 


-o- 


I79II 


22 


Lesson  N?  60 


Phrasing'  (Continued) 


The  Fugue  in  E  flat  by  Bach,  so  called 
the  "St.  Anns  Fugue','  consists  of  three  well 
contrasted  divisions ,  each  having  its  individual 


subjects,  the  first  one  being  the  initial 
phrase   of  the  familar  "St.  Anns"  hymn: 


A  break  is  sometimes  made  between  the  B  flat  and  E  flat  in  the  second  measure; 


which  disturbs  the  smoothness  and  dignity 
of  the  phrase,  and  is  not  to  be  recommended. 
The  tempo  should  be  very  moderate   (<J :  66), 
and  the  entire  movement  played  absolutely 
legato. 

The  second  division, which  is  somewhat 
more  animated,  should  also  be  quite  legato, 


with  no  break  between  th^  short  phrases, 
but  the  six -eight   rhythm  should  be  strong- 
ly felt  by  a  persistent  emphasis  upon  the 
first  and  fourth  beats  of  each  measure  , 
and  the  entrance   of  the    theme   must  be 
clearly  defined: 


I79II 


23 


The  third  section  is  still  more  animated, ( J^t  leo)  with  a  theme  of  wonderful  decision    and 
character,  which  is  particularly  distinguished  by  the  following  phrasing: 


Be  careful  to  keep  the  staccato  eighth 
notes  well  separated,  and  so  not  run  the  six- 
teenth notes  together. 

The  great  Toccata  in  F  major   (Vol.  3 
No.  2)  does  not  call  for  any  great  variety  of 
phrasing.    It  should  above  all  be  played  with 
absolute  steadiness,  and  only  moderately  fast," 


(about  i^zVAt).  The  sixteenth  notes  should 
fl  ow  along  smoothly  and  with  great  clearness, 
and  a  majestic  rhythmical  swing  is  obtained 
by  accenting  the  first  beat  of  each  measure, 
but  with  a  special  stress  upon  the  first  note 
of  every  other  measure: 


The  eight  notes  in  the  third  measure  may 
be  played  legato  as  above,  but  they  "come  out" 
much  more  distinctly  if  played  staccato,  par- 


ticularly when    contrasted  with  the  canonic 
entrance  of  the  theme,  as  follows: 


I79II 


24 


Do  not  play  too  fast ! 

Observe  the  following  phrasing  in  the  episode: 


^^S 


#=^ 


p 


The  principal  theme  of  the  Fugue  should  be  phrased  as  follows: 

-^^      '^ 


-o- 


'j  vr> 


ir 


3x: 


and  the  secondary  theme  in  this  manner: 


foi'<l''  [J 


<^ff  fTf  y/i 


? 


I/9II 


25 


PRELUDE  IN  F  MAJOR 


,Sw.   Full 
Freparel  Gt.     8' and  4',  Sw.  to  Gt. 

^Ped.  16'and  8',   Sw.  to   Ped. 

Moderato  (Jr 


M.  G.    FISCHER 
Edited  by  Clarence  Eddy 


Manuals< 


Pedal 


^^,^JJJ 


i 


(j  ^  r '  ^e_^— ^ 


Sw.S 


v^r'i  \ 


^ 


p 


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ty,  8    ^ 


§ 


^=4: 


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^^ 


^ 


i 


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^ 


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f 


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-•^    >     >■ 


^ 


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^ 


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^ 


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I79II 


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p^f^f^f^?^^ 


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tr 


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I79II 


27 


Lesson  N9  61 


Phrasing-  (Continued) 


The 'Doric  Toccata"  (J.  S.  Bach,  Vol .  3 
No.  3)  should  be  played  only  moderately  fast 
and  in  absolutely  strict  time.   For  the   sake  of 


rhythm  the  sixteenth  notes   are    grouped  as 
follows,  but  these   groups  should    not    be 
separated; 


I 


E 


P^^ 


JBj 


Ir 


1 


tf^r^ 


ia 


m 


^ 


The  following  figuration  should  be  played  in  one  phrase; 


likewise    the  following: 


I7SII 


28 


The  theme  of  the   Fugue  should  be  phrased  as  follows: 


and  not  like  this; 


^ 


i 


ir 


i! 


^E^ 


fzat 


d— -6^ 


The  Fugue  in  D  Minor  (J.  S.  Bach,  Vol.  3    No.  4)  should  be  phrased  in  a  similar  manner 
to  "bowing"  upon  the  violin,  the  principal  motive  being  marked  as  follows: 


and  other  quasi  violin  phrases   as  follows: 


i/  yg^^^4;^ 


P^ffll  if 


^F=f 


■^Q^^jyjTp 


The  theme  of  the  Fugue  in  G    minor  (J.  S.  Bach,Vol.3  No.  5)  should  be  played  with 
absolute  precision,  and  phrased  in  the  following  manner: 


I79II 


29 


FUGUE  IN  A  MINOR 


.Sw.  full 
PreparelGi.     full  to  Octave,    Sw.  to  Gt. 
^Ped.  16'&  8',    Sw.  &  Gt.to  Ped. 


GUSTAV  MKRKEL 
Edited  by  Clarence  Eddy 


Manuals 


Pedal 


-i— 


IT9II 


30 


fflJ^!l7^J 


A o 


^^ 


?E^ 


^  #♦ 


g 


i 


e^^ 


rit. 


MWwJi 


/T\ 


f  *yff 


^ 


'Lust 


3DC 


*■_# 


X 


r 


fc 


~rr- 


^ 


33C 


g 


A^ 


^^^ 


xn 


XE 


xn 


-Cf- 


"Tir 


I79II 


Lesson  N?  62 

Phrasing-  (Continued) 


31 


The  Fantasie  in  C  minorCj.  S.  Bach   Vol.  3 
No.  6)  contains  some  charming  bits  of  phrasing, 
and  great  pains  must  be  taken  to  define  them. 

Taken  at  a  moderately  slow  tempo  (Jree) 
and  with  well  balanced  foundation   stops   of 
eight  feet  pitch  on  the  manuals,  and   of  six- 


teen and   eight  feet  stops  on  the  pedals,  this 
Fantasie  possesses  great    beauty   and    deep 
sentiment. 

The  theme, which  is  given  out  in  Canon  form, 
is  characterizd  by  the  following  phrasing: 


# 


=6= 


^m 


fcb 


*     -• 


^^^=? 


f 


r- 


Observe  the  following  study  of  phrasing  throughout  the  Fantasie; 


The  Fantasie  ends  on  the  Dominant,  and 
proceeds  immediately  to  the  Fugue  in  approx- 
imately the  same  movement,  although  written 


in  double  time  (Ji66).  The  principal  theme   of 
the  Fugue  should  be  phrased  as  follows: 


i 


i 


^ 


f=^ 


r  T  Uj. 


r- 


I7tll 


32 


The  chromatic  theme  in  the  second  section  should  not  be  played  like  a  scale,  but  phrased   in 
the  following  manner: 


There  is  nothing  in  the  Pelade  in  C  major 
(J.  S.Bach,  Vol.7  No. 6)  which  calls  for  particu- 
lar comment, except  a  smoothness  and  evenness 
of  execution,  and  the  usual  accentuation  of  com- 
mon time. 


The  Fugue  consists  of  two  sections  separat- 
ed by  a  florid  interlude.    The  principle    theme 
of  the  first  section  should  be  given  out    and 
phrased  as  follows: 


i 


S 


i 


m 


0 m- 


0 #• 


I  nnfi 


And  the  main  theme  of  the  third  section  is  as  follows: 


'M  r   P 


:4 


^^ 


r  p  r- 


I7SM 


33 


ALLEGRETTO  IN  G  MINOR 


iSw.    ft'and  4' 
Gt.     Soft  8',  Sw.  to  Gt. 
Ped.  Soft  16'and  8',  Gl.and  Sw,  to  Fed. 

Allegretto  (il :  126) 


Edited  by  Ctarencf    Eddy 


Manuals 


Pcidal 


£ 


^-^ 


1^ 


^ 


rf^^ 


^ 


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^ 


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'ip  I  r  T  I  r 


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I79II 


34 


Sw. 


^5 


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-X 


rit 


W^= 


?=*? 


9     -. 


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Gt. 


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A  °  A- 


I7SII 


35 


ADAGIO  IN  F  MAJOR 


,S\v.    Flutes  and    String-s  8' 
Prepare  {„    ,    „    „.     ,„,  ^     „, 
<Ped.  Sort     16   &    8 


Adagio  cJ  =  52 


GUST  Ay  MKRKEL 
Edited  by  Clarence  Eddy 


Manual 


I79II 


36 


Lesson  N9  63 

Phrasing:  (Continued) 


In  the  Toccata  and  Fugue  in  C  major 
(J.  S.Bach, Vol.  3  No. 8),  many  interesting  points 
of  phrasing  occur,  about  which  there  will  al  - 
ways  be  many  differences  of  opinion. 

The  introductory  figuration  in  theToccata 
should  undoubtedly  be  grouped  in  suchamanner 
that  the  rhythmical  pulsations  of  each  measure 
are  definitely  preserved,  without  breakingthem 


up  however  into  disjointed  fragments. There 
should  always  be  a  fundamental  legato  feel- 
ing, and  the  tempo  should  be  such  as  will 
enable  the  player  to  execute  the  runs  and  fig- 
urations without  a  particle  of  haste  or  hesi- 
tation. 

Observe  the  following  method  of  group- 
ing the  opening  manual  figurations: 


111.  No.  1; 


^7T  r  l^ i^     iii.No.2^  ^r^^ 


17911 


In  endeavoring  to  phrase  the  long  pedal 
solo  which  follows,  the  organist    should  keep 
uppermost  in  mind  the  natural  accentuations, 
but  at  the  same  time  he  must  consider  a  certain 


37 

freedom  in  outlining  the  various  melodicper- 
iods.     This  freedom  is  determined  by  the 
character  of  the  answering  motive,  Illustra- 
tion  No.  5  : 


111.  No.  5   ^)'     f        ^      ^      h 


Therefore  the  second  motive  of  the  opening  phrase  would  not  be  phrased  like  this, Illustration 
No.  6: 


Ill.No.6 


but  as  shown  in  Illustration  No.  7: 


111.  No.  7 


^^^^ 


The  entire  pedal  solo  therefore  would  best  be  phrased  in  the  following  manner,  as  shown  in 
Illustration  No.  8  : 
111.  No.  8 


^ 


^^m 


m 


I 


""Tn      °        ^      --"^       ..^^  ^.  o     oAoo-A         ^       ^^ 


^^ 


r*^ 


A  A 


Ir^ 


I7SII 


38 


The  movement  of  the  Adagio  should  be 
absolutely  steady;  much  like  a  solemn  march 
(•Hi  66).  All  of  the  eighth  notes  in  the  pedal 
part  are  to  be  played  with  a  tenuto  touch, 
perfectly  equal  and  regular,  and  with  no 
attempt  at  phrasing.  Great  care  and  good 
taste  however  must  be  displayed  in  properly 
phrasing  the  beautiful  melody  of  the  soprano, 


together  with  the  accompanying  inner  parts, 
and  in  playing  the  manual  and  pedal  parts 
precisely  together. 

The  Grave  movement  which   follows, 
should  be  given  with  the  utmost  breadth  and 
majestic  dignity,  and  with  the  appropriate 
harmonic  phrasing.  Illustration  No.  9: 


Ill.No.9'i:iL,.. 


The  theme  of  the  Fugue  consists  of  two  repetitions  of  the  same  motive, as  shown  in  Illustration 

No.  10: 

111.  No. 10 


^i^yt  Jr-JTJ^J  JJ  iJ^7  7j  J^]j:j^^ 


These  motives  of  the  theme  may  be  phrased  in  half  a  dozen  or  more  different  ways,  as 
shown  in  Illustration  No.  11  (a-6-c-d-e  and/"): 

(a)  ^  (b) 

111.  No.  11 


For  logical  reasons  of  rhythm  and  contrast  however,  we  prefer  the  method  of  playing 
this  theme   shown  in  Illustration  No.  12: 
111.  No.12 


h  7  i  j) 


17911 


39 


SHORT  FUGUE  IN  G  MINOR  N9  1 


Sw.  Full 
rrepareSOii.    8'&4;  Sw.  toGt. 

'Ped.  16'A8;  Svv.&Gt.toPed. 

Alia  6reve(dz  63) 


J.  C.  REMBT 
Edited  by  Clarence  Eddy 


i 


Manuals ' 


Pedal 


^ 


Gt. (both  hands) 
(  Swell  box  open 


i 


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^^ 


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^^^C 


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1 — n 


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T  V  r  liiJ  J  r^  r  it-i  I  r  r  r 

'     Ia  aI  f  '      A 


^Ff 


17911 


40 


b''  ikJ- .  ■ ,.  iiJ 


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4 


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:^^^=^ 


tf.*  #- 


fS^ 


_(2_ 


'>-^"l"r   Mfr 


i"«=^ 


^ 


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te 


=FtF 


f 


A 


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ne=^ 


T 


rfTTj 


T 


m 


a± A 


r 


V-I,l'i>f^      P 


J=^ 


4^^ 


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r 


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^ 


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^♦ 


S2=t2at 


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m 


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I79II 


41 


Lesson  N9  64 


Phrasing  (Continued) 


The  Prelude  and  Fugue  in   E  minor  (J.  S. 
Bach,Vol.3  No.  10),  are  usually  played  much 
too  fast,  and  with  little  or  no  appreciation   of 
their  true  sublimity  of  character.   This  compo- 
sition if  properly  played  is  most  dignified  and 
impressive. 

The  correct  tempo  for  both  the  Prelude 
and  Fugue  is  about  as  follows:  (Jr  58),  and  in 
very  large,  resonant  auditoriums,  when  the 


full  organ  is  employed,  it  should    be   even 
slower. 

Fundamentally  there  should  be  a  strong 
legato  feeling,     nevertheless  the  subject  of 
phrasing  enters  deeply  into  the  character   of 
this  composition.   The  solo  passage  which 
begins  the  Prelude  should  be  grouped   as 
follows,  although  the  groups  of  notes  are  not 
to  be  separated,  Illustration  No.l: 


I11.N9  1 


Observe  carefully  the  following  phrasing.  Illustration  No.  2 
I11.N9  3 


mm^!^ 


Likewise  the  following: 


*3fc 


m 


1  i'}:ti^}.r\\^^J'iK^i!'p»h^l^ 


>>:|t    ;    yfp,p,M\'j>    ,*p,p. 


±MAl 


i  •!)>k  ^  M  -  AM4- 


¥ 


E5=5 


i 


r  •>  PvF7''rir  fpiPifl^  ^fpy^^'^Tf 


The  theme  of  the  Fugue  is  phrased   as  follows: 


^a;^ 


■r   ^  T   /*|v 


» 


a 


I79II 


42 


and  the  Mordent  ('«K),  should  be  played  with  the  semitone  below  the  given  note; 


although  it  is  sometimes  played  with  the  whole-tone  below; 


.y.^''^^' 


A  careful  study  of  the  Prelude  and  Fugue 
in  C  major  (J.  S.Bach, Vol.  4  No.  l)  will  convince 
the  most  skeptical  that  a  thematic  phrasing  is 
greatly  to  be  preferred  to  the  ordinary  meas- 

Ordinary  measure  phrasing: 


ure  phrasing. 

Observe  the  difference  of  effect,  as  ap- 
plied to  the  first  four  measures  of  the  Prelude 
alone: 


Thematic  phrasing 


The  theme  of  the  Fugue  gains  tremendously  in  interest  by  the  following  phrasing: 


* 


^Mm^ 


rimnra.^ja 


m 


M 


^ 


SB 


Sv-UJl' 


The  thematic  germ  of  the  Prelude  in  G  major,  (J.  S.  Bach, Vol.  4  No.  2)  lies    in  the 
following  motive: 


^ 


and  the  theme  of  Fugue  calls  for  the  following  phrasing: 


I79II 


The  introduction  to  the  Prelude    in    D 
major,(J  S.Bach, Vol. 4  No.  3)  should  be  tak- 
en only  moderately  fast,  with  natural  rhythmical 
pulsations  and  strong  accents  upon  the  first  and 


43 

third  beats  of  each  measure,  the  thematic  de  - 
signs  should  however  be  clearly  defined  by  ap- 
propriate phrasing.  The  following  illustrations 
will  serve  as  a  key  to  the  general  plan: 


jh  7    i 


The  Alia  breve,  or  double  time,  requires 
very  smooth  legato  playing,  with  well-defined 
phrasing,  and  a  strong  accent  upon  the   first 


beat  only  of  each  measure.  This  movement 
consists  largely  of  two-measure  phrases,  of 
which  the  following  are  illustrations: 


I79II 


44 


^ 


^ 


g^f-^-^r 


rrr=g 


■>^%  I  » 


^ 


#•    is^ 


# — ^ 


#5 


^ 


i 


^m 


rJ  jf  iJ'-PL[i:ic^^ 


Z2I 


if 


5 


S 


5 


S 


^ 


t 


t^I 


y~=j 


fft 


frr^ 


r 


^ 


r^ 

J  J  J 


feM 


^^ 


^ 


T^ 


-it^ — ^'1 


^ 


S 


^ 


^ 


The  theme  of  the  Fugue  is  phrased  as  follows; 

4 


The  tempo  should  be  taken  moderately  fast,  but  not  too  hastily,  and  great  care  must  be 
exercised  that  each  group  of  sixteenth  notes  be  played  very  distinctly. 


I79II 


45 


SHORT  FUGUE  IN  G  MINOR  N0  2 


Sw.    Full 
Frefiare  {Gt.     8'A  4'     Sw.toGt. 

Fed.  16'&  8'  Sw.  A   Gt.to  Fed. 


^lla  breve  (Jr  63) 


J.  C.  REMBT 
Edited  by  Clarence  Eddy 


Gt. 


^ 


Manuals 


Pedal 


^S 


-^^^ 


^s 


Gtr 


i 


^E^ 


I' 


III., 


^ 


""r  c  c  y 


s 


I79II 


4« 


i 


£k. 


"fe- 


^ 


s 


^#f^ 


s 


f 


p  f  p 


\rj        P 


[    I  r     r 


-o- 


Jf  f     lll 


3 


^ 


i 


^5 


I 


m 


^^ 


oo 


^f=^ 


o 


I79II 


47 


Lesson  N9  65 


Phrasing-   (Continued) 


There  would  seem  to  be  as  many  different 
ways  of  playing  the  popular  Toccata  and  Fugue 
in  D  minorQ.  S.  Bach,  Vol.4  No.  4)  as  thereare 
organists.  We  can  however  at  this  timeonlycon- 


sider  some  of  the  individual  phrases. 

The  four  opening  phrases  of  the  Toccata 
should  be  played  authoritatively,  and  with  a 
proper   sense  of  proportion. 


The  Mordent  (4-)  is  usually  played  here  with  the  note  below  in  the  scale; 


Phrase  the  Prestissimo  movement  in  the  following  manner,  but  do  not  separate  the  groups, 
excepting  at  the  end  of  the  long  phrases.   Play  in  time  and  not   too  fast. 


m^^^ 


\13\\ 


48 


The  following  passage  should  be  phrased  thus; 
Allegro 


% 


m 


rrfrrffr 


^ 


l^      I 


\srni  1 


w 


and  the  following  passage  thus: 


^^"  ^  ^r^  ^  M 


i 


•    J 


* — #■ 


P      V      F 


f 


^^  ^ 


^  ;i  ^  ^M 


P 


^ 


The  Prestissimo  figurations  which  follow, should  however  be  phrased  in  this  manner: 


The  Fugue  must  be  played  strictly  in  time,  with  the  theme  phrased  as  follows: 


1/911 


49 

The  brilliant  recitative  passages  near  the  close  of  the  Toccata   should  be  rhythmically    treated 

in  the  following  manner: 


and  the  Vivace  movement  immediately  preceeding  the  final  chords  (Molto  Adagio),    will     be 
found  extremely  effective  when  phrased  as  follows: 
Vivace 


i)  y^i  "•)  I 


rg  •'ff'i 


3 


V-[,  P?  7_P_p.7         "yplpy  7pp7         7  pip?         7ff   p7  ^fllltiV  ^  AJ\  7  i^ 


Molto  adagio 


I79II 


50 


Lesson  N9  66 

Phrasing-  (Continued) 

PRELUDE  IN  C  MAJOR 


/Sw.    Full 
J'rrparclGt.      8'  A    4',    Sw.  to    Gt. 

Ped.  16' A    8'  Sw.  &    Gt.to  Ped. 

Modcnitn  (J  ;7h) 


yOHANN  GEORG  ALBHHCTSBERGER 

Edited  hy  Clarence  Eddy 


Manuals  \ 


Pedal 


n  f    7  r IX 


i 


p 


t):4 


i 


I79II 


A  A 


^  A  A  U«J 


:i 


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p  [j  "^ 


2 L      •. 


u 


1         5 

■0 P- 


:^       1 


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>>^  f  r ,  p  ^[g^ 


^^ 


^ 


s 


I79II 


^ 


E^E 


t 


^ 


s 


S        1 


1^^ 


^ 


m     ..2      H      1      :i      1 


^5 

— a  -*■ 


^ 


s 


Gt. 


i 


i 


r    ,  r  LJ 


//• 


3 


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vGt.tO  Ped. 


o      K 


fee 


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fczi 


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"IT" 


-^^ 


A        o 


,Sw. 


17911 


53 


^^ 


!         1 


jr^TTPi 


K-i-^ 


m 


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^^=¥ 


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f 


f 


-p*- 


2            1 
>Gt.  to  Fed. 

A^"";^    o 


•)■■  "J        V    P   i', 


off  Gt.to   Fed. 


^ 


3 

A 


l:  r  P  r 


^t.  to  Fed. 


=«^ 


P 


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I79II 


54 


Lesson  NQ  67 

Phrasing  (Continued) 


The  pedal  solo  which  opens  the  Prelude  in  C 
minor,  (J.  S.Bach,  Vol.4  No.  5)  should  be  played 
strictly  in  time,  and  in  moderate  tempo,  with  full 


4^ 


organ. 

Observe  the  phrasing,  which  is  indicated  with  a 
view  in  mind  towards  defining  the  melodic  figuration: 


The  theme  of  the  Fugue  is  most  remarkable  in  its  conception,  and  will  prove  exceedingly  inter- 
esting as  phrased  in  the  following  manner: 


^^i4^^^^H#irFj  \W^^^\m^^^p 


The  Fugue  in  C  minor, (J. S.Bach,  Vol.4  No.G)  may  be  divided  into  three  sections,  with  the  fol- 
lowing themes  as  their  principle  motives; 

k 


I 


^^Or  r  '  r 


¥¥^ 


lltt  r  '  ^  wj^^  tj- '  P  f  iryg 


I79II 


oo 


The  so-called  "little  G  minor  Fugue,"(J.S.  Bach,  Vol.4  No.  7)  is  constructed  upon  a  long  theme, 
which  we  would  play  moderately  fast,  and  phrase  in  the  following  manner: 


# 


m^ 


^  1;^  J  ^  j^ 


The  beautiful  Canzona,  (J.  S.Bach,  Vol.4No. 
10)  particularly  designed  for  strings  and  flute- 
tone  stops,  is  divided  into  two  sections,  each  of 
which  contains  a  perfect  development  of  prac- 


tically the  same  theme,  but  phrased  quite  dif- 
ferently, inasmuch  as  the  first  section  is  written 
in  common  time  and  the  second  in  triple  time, 
thus: 


It  is  evident  that  the  brilliant  passages    of 
the  Introduction  to  the  Fantasia  in  G  major,  (J.  S. 
Bach, Vol.  4  No.  11)  should  be  played  rapidly,  but 


^ 


*^ 


#    0 #    0 


it  is  just  as  obvious  that  a  strong  rhythmical  sense 
of  four  beats  to  the  measure  should  be  defined 
thus; 


#-=-#■ 


a"  ^'  a-'a* 


•  _• 


s 


I79II 


56 


The  magnificent  five-part  chorus  in  very  slow 
double  time  (Grave),  should  of  course  be  played 
in  a  sustained  and  dignified  manner,  and    yet 


the  entrance  of  each  four -note    motive 


* 


P^ 


should  be  distinctly  felt. 


Grave 


The  closing  section,  marked  lentement,should 
indeed  be  played  in  a  slow  common    time,  with 
great  solidity  in  the  pedal  part  and  a  strong  em- 
phasis upon  the  first  and  third  beats.  The 


elaborate  figuration  in  thirty-  second  notes  how- 
ever, should  "come  out"  very  clearly  and  with 
exceeding  brilliance; 


* 


Sza 


ft/^ 


'^^"^^S^^^r^ 


^ 


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^ 


^ 


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m 


a^ 


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-M- 


t 


I79II 


57 


The  majestic  five-part  Fantasia  in  C  minor,  (J.S.  Bach, Vol. 4 No. 12)  must  be  played  perfectly  le- 
gato, with  a  strong  accent  upon  the  first  beat; 

Lento 


^ 


J-  ^^J  j] 


hU 


^ 


feJS 


yrt^ 


^^ 


f 


S 


I?,    /* 


-^   t^  I? 


^ 


w>^^ 


•*♦- 


The  wonderful  Passacaglia,  (J.  S.  Bach,  Vol.1 
No.  2)  is  replete  with  interesting  subjects     for 
phrasing,  but  we  can  content  ourselves  at    this 
time  only  with  the  bass  theme  itself,  upon  which 


this  remarkable  composition  is  constructed. 

It  will  be  observed  that  the  eight  -  measure 
theme  is  made  up  of  two -note  phrases: 


^U-i 


-n ^ 


^ 


^^ 


Played  in  this  manner,  the  theme  would  appear  however  exceedingly  disjointed,  and  also   quite 
as  unsatisfactory  if  played  in  one  monotonous  phrase,  like  this: 


^m 


It  is  recommended  therefore  that  the  theme  be  divided  into  two  sections,  with  slight  pulsations 
between  each  section,  as  follows: 


P 


^^ 


i 


I79II 


58 


Lesson  N?  68 

Phrasing"     (Continued) 

PRELUDE  IN  F  MAJOR 


!Svv.     8'  A    4',  without  reeds. 
Gt.     8'  Xi    4',  without    reeds.  S\v.  to   Gt. 
Ped.  Bourdon   16 ,  Sw.  Ac     Gt.  to    Fed. 


JOHANN  GEORG  ALBRECHTSBERGKR 

{Edited  by  Clarence  Eddy) 


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62 


Lesson  N?  69 


Prelude  and  Fugue  in  C  Major(./  s.  Bac/i) 


The  "Eight  little  Preludes  and  Fugues"  from 
which  this  excerpt  is  taken,  belong  to  the  earliest 
period  of  the  organ  compositions  by  the  great 
Johann  Sebastian  Bach.  They  were  evidently 
intended  for  instructive  purposes,  for,in  form  and 
contents  they  are  somewhat  "sketchy"  and  meagre 
when  compared  with  his  later  works-,  neverthe- 
less, they  are  forerunners  of  Bach's  great  art  of 
organ  playing,  and  deserve  to  be  studied  in  a  con- 
scientious and  painstaking  manner,  if  not  indeed 
in  a  reverential  spirit. 

Bach  left  very  few,  if  any,  indications  as  to 
how  his  compositions  should  be  played,  not  even 
in  the  matter  of  tempo,  while  registration  and 
phrasing  are  left  almost  entirely  to  the  discretion 
of  the  player.  There  is  a  certain  style,  however, 
in  the  interpretation  of  music  of  this  period,  and 
particularly  that  of  Bach,  which  is  recognized  as 
traditional.  This  applies  to  all  contrapuntal  mu- 
sic, such  as  fugues,  trios  and  thematic  part-writ- 
ing. The  most  important  requisites  of  this  style  are: 

1.  Steadiness  and  strength  of  rhythm. 

2.  Eveimess  and  clearness  of  melodic    figur- 

ation and  design. 
3.-  Significance  of  phrasing. 

4.  Fine  sense  of  proportion. 

5.  Nobility  of  charactei',  etc. 

All  of  these  however,  may  perhaps  be  summed 
up  in  the  words:  "  sound  judgment  and  ffood  taste'.' 
The  conception  of  these  featm-es  of  expression 
varies  widely  in  different  countries  and  with  dif- 
ferent people.  For  instance,  in  the  matter  of 
tempo  alone,  as  applied  to  Bach's  compositions, 
the  German  organists,  as  a  rule  play  everything 

very  much  slower  than  those  in  England orinthis 
NOTE:   The  Measures  referred  to  in  the  text  are  numbered  in 
l?9ll 


country.  After  an  extensive  study  of  the  music 
and  characteristics  of  this  great  master,  the  ten- 
dency is  to  define  the  phrases  more  clearly  and 
to  play  with  greater  repose. 

This  Prelude  is  characterized  by  a  quiet  dig- 
nity rather  than  any  great  degree  of  brilliancy. 
In  order  that  the  performance  of  this  composition 
may  be  consistent  with  its  character,  it  must  be 
played  with  a  positive  rhythmical  swing'  in  mod- 
erate time.  A  fairly  full  organ  should  be  used,  re- 
serving the  reeds  and  mixtures  of  the  Great  Or- 
gan for  the  repetitions. 

After  arranging  the  stops,  as  indicated,  com- 
mence playing  on  the  Great  Manual  with  both  hands. 

Attack  promptly  the  first  pedal  note,  C,  with  the 

■>■ 

left  toe,  giving  it  a  decided  accent:    *j:f^       ^ 


Play  the  16th  notes  perfectly  even 
and  legato  throughout  the  Prelude,  making  no 
break  between  the  phrases.  Do  not  fail  to  accent 
i\\e  first  and  third  beats  of  each  measure,  as 
you  will  remember  that  the  first  mentioned  beat 
receives  the  primary  accent,  and  the  last  men- 
tioned beat  the  secondary  accent;  also  that  the 
effect  of  an  accent  is  obtained  by  giving  a  slight 
stress  on  those  notes  intended  to  be  accented. 
When  a  figure  is  repeated,  the  initial  note  of  the 
first  figure, receives  a  strong  accent,  while  that 
of  the  second  figure  receives  a  weaker  one,  as  in 
measure  5. 


Measure  5 


Observe  with  special  care  all  of  the  rests,  and 

Measure  2  _      

always  release  the  keys  ,^^ ^^ 

^edal  as  well  as  manual)  \[^     ^  M   S^^ 

exactly  on  the  rest,  as 


in  measure  2. 

f/ie  music. 


u 


.V-- .'    ->  fi  r  ^ 


We  speak  of  this,  particularly)  as  it  is  of  the 
utmost  importance  that  the  fingers  and  feet  be 
raised  from  the  keys  at  precisely  the  proper  in- 
stant. This  point  cannot  be  too  strongly  empha- 
sized. Be  sure  that  you  observe  the  dashes%vhich 
you  will  find  writtenunder,  or  over  many  notes 
throughout  this  composition.  These  dashes,  -as 
you  know,  indicate  that  the  notes  are  to  be  held 
for  their  full  time  value.  The  notes  which  are 
marked  with  the  dash  and  a  dot  should  be  slight- 
ly shortened,  as  in  measure  2: 
Measure  2 


^ 


^ 


When  a  single  note  is  repeated  a  number 
of  times,  as  in  measure  5,  each  note  should  be 
slightly  detached,  and  the  foot  should  leave  the 
key  only  long  enough  to  repeat  each  note  dis- 
tinctly. The  first  note  of  each  group,  however, 
should  receive  a  particular  stress,  or    accent,    in 

order  to  maintain  uniform  rhythm. 
Measure  5 


The  last  notes  of  a  phrase,  as  in  measure  10, 

and  in  fact  all  similar  phrases,  should  be  shortened 

one  half  their  length.  By  so  doing  each  phrase  may 

be  actually  separated  from  the  one  following. 
Measure  10 


Be  sure  that  you  connect  all  notes  which  are 
slurred  together,  properly:  the  first  note  in  a  phrase 
of  two,  is  accented  and  the  second  note,  as  a 
rule,  loses  one  half  its  time  value.  111.  N9  1  (a) 
and  (b)  shows  how  slurred  notes  are  written  and 
how  they  should  be  played. 

as  written 


111.  N9  1       «*  plai/ed 


(b) 


"^""Tvrjrv[;i^ 


U3II 


63 

As  a  rule,  continuous  phrases  of  more  than 
two  notes  are  not  detached,  but  played  legato  with 
merely  a  slight  "dwelling"  upon  the  first  note  of 
each  group,  as  follows  (Measure  9): 


Mea 


The  trill  at  the  end  of  measure  11  is  played  in 
this  manner: 
Measure  11 


The  trill  at  the  end  of  measure  35    should  be 
treated  as  follows: 


Measure  35 


In  measm-e  42  the  trill  is  played  in  this  manner: 


Measure  4. 


m 


r\ 


m 


In  measure  45  the  trill  is  played  the  same  as 
above  in  measure  35: 

Measure    45 

At  the  close  of  the  Prelude  a  slight  ritardan- 
do  is  customary,  but  at  the  end  of  the  Fugnie  one 
can  indulge  in  a  broader  and  more  extended  slack- 
ening of  speed  (riYe/ZK^o), thereby  indicating  the 
final  close.  The  ritenuto,\\.o\ve\eY,  should  be 
perfectly  gradual, and  not  in  any  manner  over-done. 

The  fermata^oT  pause,over  the  final 
chord  may  be  held  at  the  discretion  of 
the  player,  but  good  judgment  in  this 
instance  would  dictate  that  the  ritard 
begun  in  the  last  measure  but  one,  be 
carried  gradually  through  the  last  measure,  and 
that  the  chord  be  promptly  released  upon  the 
first  beat  following  that  measure. 

The  theme  of  the  Fugue  should  be  "given  out" 
in  precisely  the  same  tempo  as  the  Prelude,but  with 
very  marked  and  positive  rhythm.  Due  value 
must  be  given  to  each  individual  note  and  rest. 
The  same"pointing"  should  be  carried  out  at  each 
entrance  of  the  theme  throughout  the  entire  com- 
position, thus  presei'\-ing  its  inherent  character. 

Above  all  do  not  hurry!      Many   organists 
seem  to  have  acquired  a  habit  of  "running  away," 
especially  when  playing  anything  of  a  contrapun- 
tal nature,  like  fugues,  and  the  effect  is   always 
restless,  confused  and  unsatisfactory. 


64 


PRELUDE  AND  FUGUE  IN  C  MAJOR 


r Swell-  Full. 
Prepare  jcreat-  Foundation  stops,  8'  4'  &  2\  S\v.  to  Gt. 

' Pedal-  Foundation  stops,  16'  &  8',  Sw.  and  Gt.  to  Ped. 

Prelude 

Moderato       (J  -12) 

5 


Manuals 


JOHANN   SEBASTIAN    BACH 
Edited   by   Clarence  Eddy 


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Lesson  N9  70 


Prelude  and  Fugue  in  D  minor  (J.S.Bach) 

This  Prelude  and  Fugue  may  be  played  faster  than  the  preceeding  one  in  C  major,but  the 
tempo  should  be  very  steady  throughout. 

In  the  original  edition  there  are  no  indications  of  tempo, registration,  nor  phrasing;  for  a 
clearer  understanding  of  this  composition  we  have  supplied  these  omissions  and  defined  the 
phrases.  Observe  carefully  the  various  signs  of  touch,  particularly  the  tenuto  sign  (the  tenuto 
sign  is  a  short  straight  line  above  a  note-p)  indicating  that  the  note  or  chord  must  be  held  its 
full  time  value. 

The  final  notes  of  the  short  consecutive  phrases  should  be  somewhat  shortened  so  that 
these  phrases  may  be  properly  separated,as  shown  in  measures  1,2  and  3,  Illustration  No.l: 


Measure  1 


III.  No.l. 


The  last  notes  of  the  final  phrases,  as  indicated  by  the  tenuto  signs, must  be  held    their  full 
value.  Great  pains  must  be  taken  not  to  disconnect  the  intermediate  notes  of  the  phrases. 

In  order  to  preserve  the  correct  "rhythmical  swingj'  the  first  beat  of  each  measure     should 
receive  a  particular  stress,  and  a  secondary  accent  should  be  placed  upon  the  third  beat. 

A  slight  ritard  is  permitted  at  the  close  of  each  complete  cadence;  and  a  more  extended  ritard 
at  the  final  close  of  the  composition. 

Musical  figures  such  as  are  found  in  measures  13, 15  andl7  should  not  be  separated, but  the  first 
notes  of  each  figure  should  be  slightly  accented. 

The  trills  found  in  measures  6, 12  and  30  should  be  played  as  shown  in  Illustrations     Nos .  2 
and  3  : 

Measures  6  and  30  Measure  12 


111.  No. 2. 


111.  No.  3. 


i^JJJJJJJ     ^ 


I79II 


90 


PRELUDE  AND  FUGUE  IN  D  MINOR 


/Swell -Full. 
Prepare   <  Great  -  Foundation  stops,  8'  and  4]  Sw.  to  Gt . 

(Pedal-  Foundation  stops,  16' and  8]  Sw.  to  Fed. 


Prelude 

Moderato  con  moto  ( J  =  66 )        2 

0 


JOHANN  SEBASTIAN  BACH 
Edited  by  Clarence  Eddy 


Manuals 


( 


Pedal 


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I79II 


75 


Lesson  N9  71 


Prelude  and  Fugue  in  E  minor  (J. S.Baeh) 


This  remarkable  Prelude  is  characterized 
by  great  strength,  nobility  and  grandeur.  It 
should  be  played  in  a  very  dignified  manner,  with 
full,  deep  toned  Diapasons  of  16  and  8  feet' pitch. 
Although  the  style  in  which  this  composition 
should  be  played  is  essentially  legato,  the  Pre- 


lude must  be  executed  throughout  with  great 
clearness,  and  absolute  precision  of  attack: 
Play  connectedly,  but  avoid  all  blurring.  The 
end  of  phrases  must  be  sufficiently  detached  to 
permit  a  clearcut  attack  of  the  following  phrase, 
as  shown  in  measure  2,  Illustration  No.  1. 


Measure  2 


111. No.  1. 


J^  ijf^  J   J 


M     ^-■ 


P 


^ 


In  measure  6,  the  soprano  note   E,    should 
be    tied  to  the  same  note  in  the  alto  part  (on  the 


second  beat),  to  preserve  the  inherent        legato 
character,  as  shown  in  Illustration  No.  2: 


111. No.  2 


The  D  in  the  alto  part  (3d  beat  of  the  same 
measure)  must  of  course  be  repeated  by  the  sop- 
rano part  immediately  following. 

In  order  to  play  che  inner  parts  perfectly 
legato  in  measures  12,13,14,15,16  and  17, certain 
alto  notes  have  been  bracketed  with  the  tenor  part. 

In  measures  18,19  and  20,  the  thumb  of  the 
right  hand  must  play  the  successive  notes  with  a 
sliding  motion,  while  a  substitution  of  the  other 
fingers  is  necessary  for  a  perfect  legato. 

The  character     of  this  Fugue  is  bright  and 
cheerful,  and  it  should  be  taken  moderately  fast. 
Played  in  this  manner  it  furnishes  a  good  contrast 

Measure  75 

111. No. 3 

Observe  the  change  of  time  from  4  to^  at  the 
close  of  the  Fugue,  whereby  the  length  of  the  last 


to  the  Prelude.  The  first  note  in  each  measure 
should  receive  a  special  emphasis  and  an  un- 
swerving tempo  must  be  maintained  throughout 
the  composition.  A  smooth  flowing  legato  is  called 
for,  but  the  plaj^er  should  strive  for  perfect  clear- 
ness and  distinctness  in  the  performance  of  each 
voice-part;  also  to  preserve  an  absolute  steadi- 
ness of  rhythm.  The  fingering  indicated  in  meas- 
ures 70, 71  and  72  will  be  found  most  helpful  in 
keeping  these  passages  in  thirds  perfectly  clear 
and  steady. 

In  measures  75  and  76,  the  soprano  must  re- 
peat each  note  upon  the  second  beats  as  shown  in 
Illustration  No. 3: 


two  measures  is  doubled.  Only  a  slight    ritard  is 
therefore      required. 


76 


PRELUDE  AND  FUGUE  IN  E  MINOR 


Swell-Full 
Prepare  \  Great- Full  to  Fifteenth,Sw.  to  Gt. 

Pedal-  Foundation  stops  32,'  16'and  8J  Sw.  and  Gt.  to  Ped. 


JOHANN  SEBASTIAN  BACH 
Eidited  by  Clarence  Eddy 


Prelude      , 

Adagio  (J  =  42) 


Manuals 


Pedal 


I79II 


I79II 


78 


^^  Fugue  I 

^  Allegro  moderato  (J  =144) 


;^^ 


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off  Gt.l2lh&l5yi 
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I79II 


SI 


Lesson  N9  72 


Prelude  and  Fugue  in  F  Major  (J.S.Bach) 


The  character  of  this  Prelude  and  Fugue  is  bright  andcheer- 
ful  throughout,  and  both  movements  may  be  taken  at  a  moder- 
ately fast  tempo.  The  nature  of  the  Fugue  however,  demands 
a  slightly  slower  and  more  dignified  tempo  than  that  of  the 
Prelude.  We  have  indicated  for  each  movement  an  approxi- 
mately correct  metronomical  tempo. 

It  will  be  noticed  that  the  given  registration  calls    for   three 

Measure  5 


manuals,  (Swell,  Great  and  Choir)  but  if  the  instrument  has  on- 
ly two  manuals, the  part  marked  for  the  Choir  organ  may  be 
played  upon  the  Swell  organ.  The  triplets  in  measures  5  and  6 
of  this  Prelude,  should  not  be  separated, but  played  legato  with 
a  slight  accent  upon  the  first  note  of  each  group.  The  first  trip- 
let in  each  measure  should  receive  the  most  emphatic  accent, 
as  shown  in  measure  5,  Illustration  No.l; 


Ill.No.l 


P 


^'   'jy^jy    '  'JJ  '3/  'jy- 


The  groups  of  sixteenth  noies 

Illus- 


Measure  59 


This  rule  regarding  accents  applies  also  to  the  repetition  of  similar  phrases  in  the  Fugue, 
should  not  be  separated,  but  played  legato,  with  an  accent  upon  the  first  note  of  each  group,  as  shown  in  measure  60, 
tration  No. 2:  m co  60 

Ill.No.2 

The  C  on  the  fourth  beat  of  the  right  hand  part  in  measure  67  should  be  accented,  and  the  rest  in  the  left  hand  part  begins  ex- 
actly upon  the  fourth  beat,  as  shown  in  Illustration  No. 3: 

Measure  67 


*v.        irf~p~r~'T  irrrrrrrrrrrrrrfi* 


Ill.No.3 


^m 


^ 


i 


e 


^ 


^ 


^F=r 


^ 


The  quarter  notes  on  the  first  beat  of  measure  70  should  be  shortened  about  one  half  theirvalue,and  an  accent  placed  upon  E,the 
second  beat  in  the  alto  part,  as  shown  in  Illustration  No. 4: 

Measure  70 


IIl.No.4< 


^ 


^ 


r 


5 


Cr 


S 


^^ 


S 


In  the  right  hand  part  of  measure  71,the  first  note  D  should  be  shortened,and  an  accent  placed  upon  the  note  G  on  the  second 
beat.  The  note  A  in  the  same  measure,on  the  third  beat  in  the  tenor  part,should  be  shortened  and  an  accent  placed  upon  the 
following  note  D,  on  the  fourth  beat,  as  shown  in  Illustration  No.  5: 

Measure  71 


Ill.No.5 


Do  not  shorten  the  tied  and  slurred  notes  of  the  manual  parts  in  measures  83  and  84,  but  observe  the  rests  exactly    as    they 
are  \\,-ritten,  as  shown  in  Illustration  No.6; 

Measure  83  84 


^ 


m 


^ 


ff  f    V  f 


i 


^^ 


III. No.6 


N.B. 

Play  both  Prelude  and  Fugue  '•teadily  and  in  strict  time  throue:hout,  with  a  slight  natural  ritaid  at  the  end  of  each  movement. 
17911 


83 


PRELUDE  AND  FUGUE  IN  F  MAJOR 


Prepare  ■ 


Swell.  8  &  4' (without  reeds) 

Great.  Flute  &  Gamba  8;  Sw.  to  Gt. 

Choir-  8'&  A',  Sw.toCh. 

Pedal.  Bourdon  16' &  F1.8',  Sw.&Gt.to  Ped. 


U^A->^. 


Manuals 


Prelude 

Allegro  moderato  (J':  132) 


JOHANN  SEBASTIAN  BACH 
Edited  by  Clarence  Eddy 


Pedal 


® 


^ 


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8   ^    ^8  ^    ^3 


^mm 


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sy  '  uy  *  a^ 


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9 — 0- 


1/911 


©  a  tempo,      f 


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I79II 


I?  JH 


88 


Lesson  N9  73 


Prelude  and  Fugue  in  G  Major  (J.S.Bach) 


The  first  section  of  the  Prelude  (measures  lto5)demands 
an  extremely  broad  and  majestic  interpretation.  It  should 
be  played  very  slowly  with  Full  organ,  and  concluded  with  a 
ritard .  Particular  attention  is  called  to  the  tenuto  sign  '•  ) 
in  measures  3,4  and  5,  which  indicates  greater  emphasis  and 
power  upon  these  notes. 

The  broken  chords  in  measure  3  should  be  played  in- 
cisively, with  a  similtaneous  accent  upon  the  top  note  of  each 
chord.  The  trill  in  measure  5  is  played  as  shown  in  Illustra- 
tion No.l: 

Measure  5 


Beginning  with  the  last  group  of  sixteenth  notes  in  meas- 
ure 5  of  the  Prelude,  the  movement  changes  to  a  more  rapid 
tempo  (Allegro  moderato),  and  continues  in  this  manner  to  the 
end  of  the  Fugue,  excepting  two  ritards  in  measures  19  and 
24  of  the  Prelude,  and  the  more  extended  one  at  the  end  of 
the  Fugue. 

Before  beginning  the  Allegro  moderato  in  the  Prelude, 
the  reeds,  mixtures  and  16  ft.  stops  should  be  taken  off, to  be 
brought  on  again  during  the  sixteenth  rest  in  measure  19  , 
just  before  commencing  the  short  pedal  cadenza. 

These  stops  should  be  taken  off  again  before  beginning 
the  Fugue  in  measure  25,  but  the  Swell  organ  remains  coupled 
to  the  Great  throughout. 

The  ritard  in  measures  24  and  25  continues  through  the 
quarter  rests  on  the  second  beat  in  measure  25.  The  Allegro 
moderato  tempo  is  then  taken  up  promptly  at  the  entrance  of 
the  Fugue -subject.  Opinions  differ  as  to  the  manner  of  phra*^ 
ing  this  subject  or  theme.  Some  students  of  Bach  advocate  that 
it  should  be  divided  into  fragments  and  broken,  as  shown  in 
Illustration  No.  2: 


Measure  25 


I11.N0.2  'y^  frjyprfpr  \^^^^T\^t 


Or  as  in  Illustration  No.  3: 
Measure  25 


Ill.No.3 

Both  of  these  methods  appear  disjointed,  angular  and  eccen- 
tric, and  a  more  natural,  rational  and  beautiful  interpretation  will  be 
found  in  the  following  phrasing,  Illustration  No. 4:' 
Measure  25 

Ill.No.4 

Or  as  expressed  verbally;  a  pure  legato  touch  throughout 
the  entire  theme,with  a  primary  accent  upon  the  first  beat, 
and  a  secondary  accent  upon  the  third  beat  of  each  measure. 
This  will  enable  the  player  to  convey  the  impression  of  ac- 
centuation, and  at  the  same  time  preserve  a  perfect  steadiness 
of  rhythm,  without  which  all  "Bach  playing"  to  say  the  least,  is 
faulty  and  unsatisfactory. 

For  the  sake  of  variety,  the  section  between  measures  41 
and  46  may  be  played  upon  the  Swell  manual,  the  right  hand 
returning  to  the  Great  on  the  second  beat  of  measure46iand  the 
lefthandpart  on  the  last  half  of  the  second  beat  in  measure  47. 
This  will  bring  out  the  entrances  of  the  theme  more  clearly 
and  conspicuously,  and  also  make  thecompositionfar  more  inter- 
esting. Exactly  upon  the  third  beat  of  measure  54  the  Full 
Great  should  be  brough'  on  by  a  pedal  or  piston,  and  upon  the 
first  b^at  of  measure  58  the  Full  Organ  might  be  added  by  a 
crescendo  or  sforzando  pedal,  thus  bringing  this  remark- 
able"little  Prelude  and  Fugue"  to  a  dignified  and  logical  con- 
clusion. 


1/911 


PRELUDE  AND  FUGUE  IN  G  MAJOR 


89 


Swell  .  Full 
Prepare  \  Great.  Full,  Sw.  to  Gt. 

Pedal  .  Full,  Sw.  and  Gt.to  Fed. 

Prelude 

Grave  (J  =  40) 

0 


JOHANN  SEBASTIAN  BACH 
Edited  by  Clarence  Eddy 


Manuals 


Pedal 


* 


© 


'•'  (f  r-  \ 


Gt.' 


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a  tempo  (Alleg-ro  moderato) 


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off  Gt.l6'also  reeds  and  mixtures 


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17911 


93 


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I79II 


94 


Lesson  N?  74 


Prelude  and  Fugue  in  G  Minor  (J.  S.Bac A) 

Observe  in  the  registration  given  for  this  composition, that  the  Great  to  Pedal  is  not  included.  The  coupler  is  omitted  so 
that  the  entrance  of  the  figure  in  the  left  hand  part  of  measures  2,4,23,25  and  27,  which  is  played  upon  the  Great  manual, 
may  be  distinctly  heard.  The  Great  to  Pedal  coupler  should  be  drawn  during  the  rest  in  measure  35,  and  remain  so  during 
the  balance  of  the  composition.  Some  players  separate  the  last  quarter  note  in  measure  1  of  the  Prelude  from  the  following 

Measure  1 


chord,   as  shown  in  Illustration  No. 1 :    111  No. 1.       (^P     f      J     f     f     f     J^    {j         as  well  as  in  other  similar  cases, such  as 


are  found  in  measures  3,23,24  and  26  . 

This  method  however  destroys  the  proper  legato  connection  of  these  phrases,  it  is  therefore  better  to  tie  the  last  quarter  note  to 


the  same  note  in  the  following  chord,  as  showir  in  Illustration  No. 2  :    111.  No. 2  .     m^    \     J     f     f — f 


i: 


SE 


The  groups  of  eight  notes  in  measures  9,10,11,12  and  13  are  sometimes  phrased  as  shown  in  Illustration  No.  3 ; 
Measure  9  10  11  12  13 


111.  No.  3 

This  phrasing  interrupts  and  destroys  the  rhythmical  swing,  as  established  by  the  groups  of  eight  notes  in  measure  8,and 
also  by  similar  groups  imneastires  14, 15,20,21,  29,  30,  31  and  32.  We  prefer  therefore  to  phrase  these  passages  as  shown  in 
Illustration  No.  4: 

Measure  9  10  11  12  13 

111. No.  4 

and  to  indicate  the  rhythm  of  three  beats  in  every  measure,  by  accenting  each  beat. 

The  pecular  phrasingof  the  Fugue. subject,measures  39and40,isanatural  outcome  of  the  repeated  notes,  as  shown  in     Illus- 

Measures  39  40 

22Z 


tration  No.5:    III 


-.3  ^^'  Jj^|JF-{] 


This  no  doubt   adds  musical  charm  to  the  character  of  the  Fugue.  The  staccato  notes  in  the  Fugue  should  not  be  too  de- 
tached, but  played  sufficiently  "short  "for  a  perfectly  clear  and  distinct  repetition. 


The  trill  in  measure  16  should  be  played  as  shown  in  Illustration  No. 6 : 

111. No. 6 


The  trill  in  measure  22   as  shown  in  Illustration  No.  7: 

111. I 


.N0.7  ^^''  is  r  '1 


^^m 


And  the  trill  in  measure  36  as  shown  in  Illustration  No.  8: 

111. No.  8 


I79II 


PRELUDE  AND  FUGUE  IN  G  MINOR 


95 


Swell.  Full 
J>repare\  Great.  Flutes  8' and  4'and  Gamba,  Sw.  to  Gt. 

Pedal-  Bourdon  and  Violone  16' and  Flute  (or  Violoncello)  8,'  Sw.  to  Pcd. 


Prelude  , 

Andante  con  moto  ( J  =  72 ) 


JOHANN  SEBASTIAN  BACH 
Edited  by  Clarence  Eddy 


Manuals 


( 


Pedal 


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— » — = — = 

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I79II 


100 


Lesson  N9  75 


Prelude  and  Fugue  in  A  Minor  i J. S.Bach) 

Absolute  steadiness  of  rhythm  is  of  the  utmost  importance  in  playing  this  Prelude,  therefore  great  cart  must  be  taken  to 
preserve  a  relative  proportion  in  the  valuation  of  the  different  kinds  of  notes. 

A  moderate  tempo  should  be  taken,  which  may  be  indicated  by  the  metronome  at  about  63,  barring  the  two  ritards,  this 
tempo  should  be  kept  like  the  pendulum  of  a  clock,  unswerving  to  the  end  of  the  Prelude.  As  in  all  movements  of  com- 
mon time, a  primary  accent  should  fall  upon  th&first  beat,  and  a  secondary  accent  upon  the  third  beat  in  each  measure. 

The  thirty-second  notes  in  the  second  half  of  measure  3  should  be  played  as  a  single  part,  but  by  both  hands,  in  a  per- 
fectly clear, but  legato  manner,  as  if  the  notes  were  written  as  shown  in  Illustration  No.l: 


111. No. 1 


The  passage  of  thirty-second  notes  in  the  first  half  of  measure  5  should  of  course  be  played  in  precisely  the  same  manner. 
In  order  to  preserve  an  uninterrupted  figuration  of  sixteenth  notes  in  measures  6  and  7,  the  quarter  notes  in  the  alto  part 
must  be  repeated  as  indicated  at  the  sign  "x"  as  shown  in  Illustration  No. 2: 


Measure  6 


111. No. 2 


'3'  J  J  J  ^ 


5f 


^ 


^  Oj-i       ^  "^^ 


m^^ 


;  »f  r  r  P 


The  repeated  notes  in  the  left  hand  and  pedal  parts  of  measures  4  and  5  should  be  slightly  detached,     while  the  thirtj- 
second  notes  in  the  right  hand  part  are  played  perfectly  legato,  as  shown  in  Illustration  No.  3: 


Measure  4 


Measure  5 


111. No. 3 


...  J — i    r^ 


^ 


^ 


^^^ 


^ 


The  trill  at  the  end  of  measure  10  is  played  as  shown  in  Illustration  No.  4: 


111.  No. 4 


^JTI] 


The  Fugue  should  be  taken  at  about  the  same  tempo  as  the  Prelude,  with  two  beats  in  the  measure,  and  an  accent  upon 
the  first  beat  only.  This  buoyant  rhythm  should  be  preserved  throughout,except  for  an  easy  and  gradual  ritard  at  the  end 
of  the  enttre^  composition. 

The  trill  in  measures  23  and  68  are  played  as  shown  in  Illustrations  Nos.5  and  6,  respectively. 


111. No. 5 


(^  r  7  r  r  r  r?  '^  ^^ 


111. No. 6 


LAL£^£:4r^ 


i;9ii 


PRELUDE  AND  FUGUE  IN  A  MINOR 


101 


Swell  .Full 
Prepare  )  Great-  Foundation  stops,  8'4'and  Z\  Sw.  to  Gt. 

(  Pedal-  Foundation  stops,  16'  8'andA^  Sw.  and  Gt.to  Fed. 


Prelude 

Moderato  ( J  r  63 ) 


JOHANN  SEBASTIAN-BACH 
Edited  by  Clarence  Eddy 


Manual 


Pedal 


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I79II 


103 


I79II 


103 


Fugue 

(S)  Allegro  moderato  (•j^ 
Sw. 


(20) 


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I79II 


104 


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I79II 


106 


Lesson  N?  76 


Prelude  and  Fugue  in  B  flat  Major  (J.S.Bach.) 

This  Prelude  should  be  played  in  a  moderate  tempo, but  with  animation  and  a  strong,steady  pulsation  throughout.  With 
the  exception  of  certain  repeated  notes,  as  indicated,  the  entire  composition  should  be  treated  in  a  pure  legato  style.  The 
best  effect  is  obtained  by  employing  at  the  very  beginning  the  Foundation  stops  of  8  and  4  feet  pitch  of  the  Great  organ, 
with  the  Full  Swell  coupled. 

The  Full  Pedal  organ  should  be  prepared  in  advance  for  the  Pedal  Solo  in  measures  8,9,10,11,12  and  13,  and  the  Full 
Great  added  during  the  quarter  rests  in  measure  8.  The  reeds  and  mixtures  of  the  Great  organ  and  the  Pedal  reeds  might 
be  taken  off  at  the  end  of  the  Pedal  Solo,  and  added  again  for  the  repetition  of  this  section, on  the  first  beat  of  measure  23. 
After  the  hold  at  the  end  of  the  Prelude  there  should  be  a  slight  pause,  during  which  the  Great  organ  may  be  reduced  tcthe 
Octave  (or  Principal  4'.)  The  theme  of  the  Fugue  should  then  be  taken. up  promptly  in  about  the  same  tempo  as  the  Prelude, 
though  perhaps  a  trifle  slower.  This  Fugu6  subject,as  written  by  Bach,  is  one  long  continuous  phrase,as  shown  in  Illustra- 
tion No .  1 : 


Ill.No.l 


j^''  j|J]?Jf|J]3j.^^ 


It  is  evident  however  from  the  nature  of  the  theme,  that  it  should  be  divided  into  four  periods,  as  shown  in  Illustration  No.2. 


111.  No.  2 


J^J-0|il3j,plTO 


m 


The  first  two  of  these  phrases  should  be  separated,as  shown  in  Illustration  No. 3: 


111.  No.  3 


m^ 


The  last  two  phrases  do  not  need  to  be  separated,  but  should  be  played  perfectly  legato  with  an  accent  upon  the  first  beat 
of  each  measure,  as  shown  in  Illustration  No. 4: 


111.  No.  4 


^ 


« — * 


i 


5 


A  definite  rhythmical  pulsation  should  be  felt  and  demonstrated  throughout  this  entire  Fugue.  It  may  be  urged    that  the 
broken  fifths  and  sixths  in  the  third  phras«  should  be  separated,as  shown  in  Illustration  No. 4  (a)  and  (b): 


111.  No.  5 


m 


*y  *y  *y 


i 


t7- 


^y^^r:^ 


Either  of  these  ways  however  is  rediculous  and  entirely  at  variance  with  the  true  dignity  and  simplicity  of  Bach,  whose  writ- 
ings require  above  all  a  solid  rhythmical  foundation. 


I79II 


PRELUDE  AND  FUGUE  IN  B  FLAT  MAJOR 


107 


(Last  of  the  Eight  little  Preludes  and  Fugues) 


.Swell-  Full 


Prepare   /Great-  Foundation  Stops  8'&  4',  Sw.  to  Gt. 
'  Pedal  -  Full,  Sw.  and  Gt.  to  Ped. 


Prelude 

Moderato  con  moto  ( J  =  72) 


JOHANN  SEBASTIAN  BACH 
Edited  *.y  Clarence  Eddf/ 


Manuals 


Pedal 


^ 


3  ^^     4  3 


:2 


'Gt.  (with  Swell  open) 


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I79II 


108 


^IP 


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I79II 


© 


off  Gt.  reeds  and  mixtures, also Ped.  reeds 
la  tempo 


109 


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I79II 


110 


^r-^    (2|  add  Full  Gt. 


^^^^^m 


¥ 


rup-Llj— L_j  r 


r 


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g 


M 


^m 


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5  -3 


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(Red  ice  Gt.to  Octave) 


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3        , 


fe 


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cl_d_L 


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2 


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I7SII 


112 


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I79II 


113 


Lesson  N?  77 


Trio  Playing- 


The  value  and  importance  of  Trio-playing 
have  already  been  strongly  emphasized,  and  it 
has  been  explained  that  each  part  should  be  care- 
fully studied  separately,  with  its  proper  finger- 
ing and  pedaling.  The  final  joining  of  all  the 
parts  will  then  lead  not  only  to  the   foundation 
of  clearness  in  part -playing   and  intelligent 
phrasing,  but  it  will  establish  an  independence 
between  the  hands  and  feet,  which  is  absolute- 
ly indispensable  for  the  technic  of  a  skillful 
organist. 

A  preparatory  study  of  the  two-part  and 
three-part  Inventions  for  the  piano  by  Sebastian 
Bach  will  prove  of  very  great  value  to    every 
serious  minded  organist,  while  the  more    am- 
bitious student  will  find  plenty  of  material  for 
advanced  thought  and  work  in  the    remarkably 
clever  arrangements  by  Max  Reger  and  Karl 
Straube  of  the  15  two-part  Inventions  of  Bach, 
to  which  they  have  added  a  third  part  in  free 
imitation.    Their  work,  which  is  entitled  "A 
School  of  Trio- playing,"  is  designed  for   a 
highly  developed   virtuoso  technic,   and    as 
such  it  is  entitled  to  the  highest  consideration. 

The  two   and  three-part  Preludes    and 
Fugues  from  the  "Well  tempered-  Clavichord" 


will  also  prove  beneficial  in  forming  a  per- 
fect style  of  touch,  fingering  and  phrasing. 

Many  of  the  original  compositions  for  the 
organ  by  Sebastian  Bach  are  written  in  Trio 
form,  the  most  notable  being  his  Six  Sonatas. 

Among  the  earlier  composers  who  have 
placed   special   importance  upon  Trio -writ- 
ing may  be  mentioned,  Wilhelm   Friedemann 
Bach,  Kirnberger,  Albrechtsberger,  Pachabel 
and  Krebs,  while  of  the  more  modern    writ- 
ers, perhaps  the  most  conspicuous    are  Men- 
delssohn, Johann  and   Friedrich     Schneider, 
Gustav  Merkel,  Josef  Reinberger    and  Max 
Reger. 

We  have  confined  ourselves  in  this  Les- 
son to  a  few  excellent  examples  by  Friedrich 
Schneider,  taken  from  his  48  Trios  for  the 
organ,  to  which  we  have  supplied  the  phras- 
ing, fingering,  pedaling  and  appropriate  re- 
gistration. 


(73n 


114 


/Sw.    8' A  4' 
Prepare)  Gt.     Flute  4  Gamba  8' 
fPed.  Soft  16' <^  8' 


FRIEDRICH   SCHNEIDER 


J=40; 


Largo  (J=  40) 

Sw. 


Manuals 


Pedal 


tA 


^s. 


s-^^ 


I 


Gt. 


^ 


:^ 


^ 


S 


I 


t 


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I79II 


115 


/Sw.    8' with  Oboe 
Prepare)  Gt.     Flute  8' 

(Ped.  Bourdon  lfi'AF1.8'(or  Gt.  to  Ped.  without  Fl.  8') 


FRIEDRICH  SCHNEIDER 


An  dan  te  can  tab  He  ( J  =  58 ) 


Manuals 


Pedal 


3 


s-^^ 


,Gt. 


^ 


'V. 


H 


*~^ 


I 


JL  "W 


^^ 


g 


* 


m 


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1      -^p A 


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mm 


mm 


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4    ^    a 


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I79II 


11(> 


!Sw.    8'*  4' 
Gt.    FIutesAString-s  8' 
Ped.  Bourdon  16' &  Violoncello  8' 


FRIEDRICH  SCHNEIDER 


Andatitino  (Jr66) 

2'^        1 


Manuals 


Pedal 


Gt. 


5i 


m. 


T==f 


I 


i 


^m 


n  J    J    J 


d    •    "94 


^,%^^\^ 


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^^ 


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^ 


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^^ 


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A o 


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A 


17911 


117 


!S\v.   Flutes  and  Strings  8' 
Gt.    Melodia  4  Dulciana  8' 
Ped. Bourdon  16;  Gt.  to  Ped. 

Adagio  (JziS) 
Sw. 


FRIEDRICn  SCHNEIDER 


Manuals< 


Pedal 


fctA 


^   i*      mi 


¥^=l 


&^ 


Gt. 


w 


tfc^ 


\'^  \y^'  f 


izt 


^ 


2  S. 


m^m 


f 


#-— "-^ 


i 


^■il'iX'.  J  ?  J  j    iJ  >  J  I   I J  ?    I  ^    IJ  ^  J  » 


N.  B.  Pedal  part  played  by  the  left  foot  alone. 


1  i' 


^^ 


"    1  [>#  h0  ^  -  ^^ 


^ 


r    pj  » 


P^ 


"  ijijjiijj  II 


^* 


~r"* — 7 — ~r» 


.v%\^  r    ?    r    »    If    ?    J   ? 


\     I  ^     ^?    J    \ 


^ 


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1^ 


i 


fci 


P 


rrt 


^^ 


^ 


yfc>  f  Mf  »   If  ^  r  ^   If   ^  r  ^   '^  ^  ^  ^^' 


I79II 


118 


/Sw.  8' with  reed  8' 
Prepare  )Gt.    Soft  Flutes  and  Strings  8' 
(ped.Soft  16'*  8- 


LargAettoiJzi,^) 


FRIEDRICH  SCHNEIDER 


Manuals 


Pedal 


^  1/  i*>     r 


^ 


0     >      » 


^^ 


^=^^ 


j:S 


^ 


B 


P 


I  ^^i>  I  r  » ^ 


1  1 


*    H. 


^ 


rirrrrr  "i 


# 


i 


kfe 


3 


•       * 


•       # 


mm 


m — ^ 


3  2 


S 


i 


r  ij  r  J  r 


f^ 


i 


ii»^> 


^ 


3^2    1 


^ 


f=^ 


F^ 


rit 


^V     r\  *}  t 


m 


m 


^ 


? 


'  d  '  ^=g 


ffl^S 


^ 


s 


mm 


A       o 


i 


A    o  A 


A  A 


^^ 


I73II 


119 


Lesson  N9  78 


Trio   Playing:    (Continued) 


The  turns  in  the  following  Trio  by    Merkel  should  be  played  thus: 


**: 


the  trills  in  the  Trio  by  Albrechtsberger  in  the  following  manner: 


2nd 


measure 


^ 


P 


4tb  measure 

and  i5*r-^ 


t 


and  the  shake?  in  the  Canonic  Variation  by  Bach  as  follows: 


rig-ht  hand  part 
in  2^^  measure 


left  hand  part 
in  21"^  measure 


m 


and 


I79II 


12  0 


TRIO  IN  CANON 


,Sw.    Soft   8'  and    4' 
I'/t'J)>ne  iGt .     Flute   and    String-  8' 
'Ped.  Soft   16'  and    8' 


(J^r60) 


Manuals 


Pedal 


U 


i 


Lcurghetto  (J':60) 
Sw.      ^ 


GUSTAV  MERKEL 

Edited  by  Clarence  Eddy 


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ff^ 


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r   p  J 


3  1 


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OA  ° 


o_^^ 


is 


^ 


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3      CV  1      2        vl 


#  r"y 


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g 


')'%"  m 


.4^««- 


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v-iirCT),  >  li 


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A    o 


SfbA 


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^^ 


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1  4_ _      


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fefe^ 


rit 

4^  3"~-\2         A 


'       '     '41^^^-       ^' 


^^ 


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l^fe 


4    1 


r/«: 


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A  o  A 


A  A 


A^     A 


-A  A  o      -      X o        ^  °  f  ^"A° 


A  A     o 


I7?ll 


121 


TRIO  IN  F  MAJOR 


Sw.    8'*    4' 
Prepare    jCt.    Flute  A    String"   S' 
^  Fed.  Soft    16'  A    8' 


Manuals 


Pedal 


Andante  maestoso  (J  r  56) 


JOHANN  GEORG  ALBRECHTSBERGIR 
Edited  by  Clurfjici'  Kdriy 


f 


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17911 


122 


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^        "~\3  iC        '^     \  14 


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■N — 


1^^3 


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i'  f^j  r^i 


S==53tiEi3 


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m 


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cfc=zi 


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3-^        4 


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I79II 


123 


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124 


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jtf  p  ^   ^ 


A         ^  *' 

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#--'' 


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fi  iif  r  r -1^  ^^ 


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I79II 


(Sw. 

Prepare  <Gt. 

<Ped 


Lesson  N9  79 

Trio   Playing:   (Continued) 

CANONIC  VARIATION 

On  the  Christmas  Song: 

Vom  Himmel  hoch  d^   komm  ich  her" 
(From  Heaven  above  I  come  to  thee) 

Foundation  stops   8'  and    4' 

Flutes   4    String's   8^   Flute  4'  and  Bourdon   16' 

Trumpet    8'  (or  other  assertive   8' stop) 

Andante  con  moto  (dliios) 


125 


J.  S.  BACH 

Edited  by  Clarence  Eddy 


Manuals 


Pedal 


I/9II 


136 


* 


3  1 


^^^^^^ 


1  2. 


'/':)•  :jr^r 


:^       1      a      3 


1  d 


3    2    13 


S 


P 


I79II 


127 


1    2    0 


^^ 


i 


i         1 


^eE^ 


AV 


1    H  a 


^H=3 


•       '•  dj. 


^^±^^^i±^d± 


^ 


/W 


y#-^ 


jj     iv^rrrrrff 


4  3   1     a 


A 


^ 


S 


a      1      5  2 


s 


'"-^v^feUJ^'&i^^ 


3 


•-     -p 


.0       A 


A   o 


Z122 


I79II 


128 


Lesson  N?  80 

Hymn -tune  Playing 


The    sole  aim    of  a  great  majority  of  org-an 
students  is  to  become  church     organists,  and 
their  ambitign  seems  to  end  with  the  one  de- 
sire of  just  being  able  to  ''play  well  enough  to 
play  in  church','  regardless   of  the  fact  that  a 
good  choir  accompanist  must  have    a   solid 
technical   foundation,  a  sound  knowledge  and 
command  of  the  instrument,  and  an  ability  to 
execute  with  a  certain  degree   of    skill    and 
freedom. 

Unquestionably  the  most  important    re- 
quirement for  the  church  organist  lies  in  the 
proper  playing  of  Hymn-tunes,  and  yet  the 
study  of  this  branch  of  organ- playing     is 
usually  very  much  neglected. 

The  manner  of  "giving  out"a  hymn-tune 
prior  to  its  being  sung  by  the  choir,  or  con- 
gregation, is   susceptible  of  considerable 
variety,  and  depends  entirely  upon  the  taste 
and  skill  of  the  player. 

Four  fundamental  principles    should 
always  be  well   considered,  namely; 

1.  Absolute  precision  of  attack  and  release 

of  every  note. 

2.  Smoothness  and  clearness  of  execution. 

3.  Steadiness  of  time  and  rhythm. 

4.  Proper  division  and  subdivision  of  syl - 

labic  phrases. 
The  bad   habit  indulged  in  by  some  or  - 
ganists  of  ragged  and  slovenly  playing   of 
chords   and  music  of  two  or  more  parts,  is 


quite  as  reprehensible  as  that  of  playing  or 
singing  out  of  time. 

Many  congregations  have   a  bad  habit 
of  dragging  the  tempo,  while   others    rush 
through   the  hymns  in  such  an  exasperating 
manner,  that  they  fairly  gasp  for  breath  in 
a  vain   attempt  to  keep   up  with  the  whirl  - 
wind  of  rapidly  following  verses,    they  do 
not  appreciate  the  difference  between  sing- 
ing promptly  and  singing  fast  ,and  the  usual 
result    is  an     utter  lack  of  true    devotional 
spirit. 

As  a  rule  the  organist  is  to  blame    for 
such  deplorable  conditions,  for  he  should 
not  only  set  the  proper  pace  in  giving  out 
the  tune,  but  he  should  maintain  the  speed 
throughout    the  hymn  tune, by  accuracy  and 
precision  of  attack,  steadiness  of  rhythm 
and  phrasing. 

It  should  be  his  province  to   lead    and 
not  to  follow. 

The  prevailing  tendency  in  this  country 
to  hurry  in  all  church  music,  and  especially 
in  the  congregational  singing,  is  mainly  due 
to  a  restless,  undignified  and   superficial 
attitude  of  the  younger  generation  of  organ- 
ists, who  evidently  have  little  appreciation 
of  the  meaning  and  character  of  the  words 
to  be  sung,  and  much  less  for  the   spirit  of 
of  the   sanctuary.    They  are  quite    as  apt 
to   gallop  through  "Nearer,  my  God, to  Thee',' 


l?9ll 


129 


as  "There  is  a  Happy  Land',  and  the   calmer 
and  more  solemn  moods  of  the  church  service 
are  interpreted  in  precisely  the  same  manner 
as  those  calling  for  praise  and  rejoicing. 
The  effect  upon  one  of  a  religious  and  sen- 
sitive nature  is  offensive  and  disgusting. 

In  the  selection  of  hymns  and  tunes  for 
congregational  singing,  the  organist,  or  the 
director  of  music  should  be  guided  by  the 
following  rules: 

1.  That  the  words  and  music  are  well  suited 

to  each  other. 

2.  That  the  compass  of  the  music  is  neither 

too  high  nor  too  low. 

3.  That  the  accent  coincides  in  both  hymn 

and.  tune . 

4.  That  the  tunes  are   singable,  and  contain 

no  difficult  melodic  intervals. 

5.  That  the  words  and  music  are  devotional 

in  character. 

6.  That  the  music  is  either  familiar ,      or 

that  it  can  be  easily  memorized. 
Most  hymn  books  contain  too  many  poor 
and  unsingable  tunes  and  useless   hymns  , 
hence  the  need  of  careful  discrimination, and 
although  the  manner  of  playing  hymn  -  tunes 
upon  the  organ  concerns  us  chiefly     at  this 
time,  yet  the  following  quaint   directions 
forsinging  them,  which  are  taken    from  the 
preface  of  little  old   English  hymnal,  should 
prove  of  interest  in  all   churches  where  good 
congregational  singing  is  desired: 

1 .  Learn  theseTunes  before  you  learn  any  others;  after  - 
wards  learn  as  many  as   you  please. 
I79II 


2.  Sing-  them  exactly  as  they  are  printed  here,  without 
altering"  or  mending"  them  at  allj  and  if  you  have  learned 
to  sing  them  otherwise, unlearn  it  as  soon  as  you  can. 

3.  Sing"  All.  See  that  you  join  with  the  congreg-ation  as 
frequently  as  you  can.  Let  not  the  slightest  degree  of 
weakness  or  weariness  hinder  you.  .If  it  is  a  cross  to 
you,  take  it  up,  and  you  will  find  it  a  blessings. 

4.  Singf  lustily  and  with  good  courage.   Beware  of  singing 
as  if  you  were  half  dead,  or  half  asleep^  but    liftupyour. 
voices  with  strength.   Be  no  more  afraid  of  your  voice 
now,  nor  more  ashamed  of  it    being  heard  ,    than 
when  you  sung  the  song"s   of  Satan  . 

5.  Sing  modestly.  Do  not  bawl,  so  as  to  be  heard  above 
or  distinct  from  the  rest  of  the  congreg-ation,  that  you 
may  not  destroy  the  harmony,  but  strive  to  unite  your 
voices  together,  so  as  to  make  one. clear  melodious  sound. 

6.  Sing  in  time.  Whatever  time  is   sung,be  sure  to  keep 
with  it.     Do  not  run  before   nor  stay  behind  it;  but 
attend  close  to  the  leading  voices,  and  move  there- 
with  as  exactly  as  you  canj   and  take  care  not   to 
sing  too  slow.     This  drawling,  way  naturally  steals 
on  all  who  are  lazy;  ,and  it  is  high  time   to  drive 
it   out  from   among   us,  and  sing  all   our  tunes  as 
quick    as  we  did  at   first. 

7.  Above  all   sing  spiritually.    Have   an  eye  to    God 
in   every  word  you  sing  .    Aim  at  pleasing  Him 
more  than  yourself,  or  any  other  creature.    In  or- 
der to  do  this,  attend  strictly  to  the  sense  of  what 
you  sing,  and  see  that  your  Heart  is  not  carried 
away  with  the  sound,   but  offered  to  God  contin- 
ually; so  shall  your  singing  be  such  as  the  Lord 
will  approve   of  here,  and  reward  you  when    He 
Cometh  in  the  clouds    of  heaven. 


130 


Lesson  No  81 

Hynin-tuiie  playing  (Continued) 


As  an  example  of  a  plain  choral  -tune  let  us 
take  the  widely  familiar  one,  entitled  Old  Hun- 
dred   (attributed  by  some  to  G.  Franc   and    by 
others  to  Louis  Bourgeois),  the  playing  of  which 


in  its  simplest  form  would  naturally  be  done  up- 
on one  manual  as  follows: 


y. 


(cl=54) 


OLD  HUNDRED 


3C 


i 


i 


i 


G.  FRANC 


n 


=^=g 


La 


YT 


r 


r 


m 


u 


A  A 


^ 


^ 


P 


^ 


r 


r 


# 


n\ 


^ 


^ 


r\ 


T 


^ 


i  X 


AA 


A    Ai 


W 


P 


^ 


F^ 


^ 


f^ 


r 


r 


In  the  playing  of  tunes  of  this  class    two 
very  important  things  are  necessary,    namely; 
smoothness  and  distinctness,  a  combination  of 
motion  and  repose  resulting  in  the  effect  of  le- 
gato, which  is  indispensible  to  all  good  organ 
playing. 

Great  expertness  in  changing  the  fingers 
upon  the  keys  is  required. 

This  subject  has  already  been  discussed  in 
the  Lessons  upon    legato -playing. 

In  order  to  preserve  the  effect  of  legato 
while  playing  the  preceeding    example,  and 
yet  keep  its  rhythm   intact,    certain    notes 
should  be  tied  together   which  do  not    inter- 
fere with  the  melodic  character  of  the  tune. 


Consequently,  instead  of  repeating    the   en- 
tire chord  at  the  beginning    of  the  follow- 
ing example,    and  in   other  similar  instances 
certain  harmonic  tones    should  be  sustained, 
as   indicated  by  the  tied  notes. 

Bear  in  mind  however  that  the  notes 
of  the  melody  should  not  be  tied,  but  al - 
ways  clearly  defined,  or  repeated. 


17)11 


131 


i 


* 


i 


id) 


i 


rs 


f 


^ 
i 


-A 


"^WPf 


jy 


?^ 


^ 


i 


^ 


f^ 


r 


The  repeated  notes  at  («),  (^),and(«?),  are 
not  to  be  played  staccato,  but  the  keys  must  be 
released  and  attacked  very  promptly,  in  order 
to  insure  distinctness  of  "speech'.'  The  alto  note 
A  at  (d)  is  tied  over  from  the  soprano  part   for 
the  sake  of  greater  smoothness.  If  the    pedals 
are  used,  both  feet  should  be  employed  with 
eqaul independence,  so  that  the  same  legato  effect 
maybe  cfctained which  is  required  from  the  manuals , 
and  this  habit  of  obligate  pedal-playing  cannot  be 
urged  too  strongly.  The  question  of  using  the 


pedals  in  the  lower  or  upper  octave  of  the  key- 
board must  be  left  almost  entirely  to  the  judgment 
of  the  player,  who  will  learn  by  experience  when  to 
give  greater  or  less  support,  which  is  to  be  derived 
from  the  deep  and  solid  foundation  tones  of  the 
pedal  organ. 

In  the  playing  of  choral  tunes,  particularly  for 
congregational  singing,  and  whenever  a    strong 
support  of  the  manuals  is  needed,   the    pedals 
should  be  used  mainly  in  the  lower  octave  of  the 
keyboard,  as  indicated  in  the  following  example  : 


I79II 


132 


Vo^o  h-^^ 


r\ 


t 


i 


r\ 


f= 


f 


FF^f 


^ 


^ 


^ 


A 


urf 


? 


f—^f-f' 


P^ 


P 


Fed.  Soft  16',  Sw.  toPed 
A 


The  doubling  of  the  bass  part  above  is  in- 
tended merely  to  strengthen  the  harmonies, and 
not  to  interfere  with  the  obligate  character    of 
the  pedal  part . 

The  subject  of  registration  will  be  fully  con- 
sidered later  on,  but  at  the  present  time  the  fun- 
damental principles  of  stop- combinations  must 
at  least  be  touched  upon.   Both  in  accompaniment 
and  solo  playing  upon  the  organ,  stops  which  pro- 
duce tones  in  unison  with  the  human  voice,  name- 
ly those  of  the  eight-foot  pitch,  should  predomi- 


nate upon  the  manuals,  and  those  of  the  sixteen- 
foot  pitch  upon  the  Pedal  organ. 

In  accompanying  solo  voices,  duetts,  quar- 
tettes, etc.,  particular  attention  must  be  paid   to 
the  proper  balance  of  tone,  both  in  regard  to  pitch 
and  quality,  but  in  the  matter'of  hymn-tune  play- 
ing, especially  for  large  choirs,  choruses  or  con- 
gregations, the  main  thing  is  to  adapt  the  pro- 
portions of  tone  to  the  relative  power  requir- 
ed to  properly  sustain  the  added  number  of  voices-. 


I79II 


135 


Lesson  N?  82 

Hyiiiii-tuiie   Playing    (Continued) 


The  Hymn-tunes  selected   for  this  les- 
son are  familiar  to  all  Protestant  churches,  . 
and  belong  in  the  same  category  with  'Old 
Hundred"  and   'Dundee"  used  as  examples  in 
Lesson   N9  05.  They  should  be  played  per- 
fectly legato  in  a  moderate,  steady  tempo, 
and  with  a   fairly  powerful  organ  in  which  a 
solid  foundation  of  sixteen  feet  stops  is  giv- 
en to  the  pedals.  In  each  example  the  pedal- 
part  has  been  carefully  written  out,  and  it 


will  be  observed  that  the   lower  octave  is  used 
where  the  greatest  support  is  needed. 

The  tune,  St.  Ann's"  is  ascribed  to  William 
Craft  an  Englishman  who  was  born  in  1078 
and  died  in  1787.  Johann  Sebastian  Bach 
must  have  been  greatly  attracted  by  the  mel- 
ody, inasmuch    as    he    appropriated  the  first 
strophe  for  the  opening  theme  of  his  great 
three-part  Fugue  in  E  flat. 


ST.  ANN'S 


(J  -.  44) 


i 


J     I  J    J     I    J 


i 


^ 


WILLIAM  CRAFT 

(JG78-1727) 


^ 


i 


f 


Gt. 


f^ 


^ 


-t^ 


^-JM. 


m 


"^ 


rf 


tt 


*  A 


u 


zai 


^ 


^ 


^ 


j5X 


S 


7~" 


fe^ 


^  J  I J  j 
r  r  I  r  T  - 


'>--n  ill  J  n  I  i  ^  I  I  i 

A5       To?       *  i^     ^ 


It" 
-1 


A      "      A 


^ 


ns 


A 


A 


^ 
^ 


P 


JV- 


^ 


/C\ 


P^ 


I79II 


136 


Repetitions  of  the  same  chord  such  as  are 
found  in  the  following  example, are  essential 
to  rhythmical  and  syllabic  clearness.  This 
should  however  be  accomplished  with  discre- 


tion by  the  manuals  alone  and  not  by  the  ped- 
als, except  for  defining  more  sharply  the  di  - 
vision  of  rhythmical  phrases  as  for  instance 
at   (a)    in  the  sixth  measure. 


FEDERAL   STREET 


(J:    56) 


n.  K.   OLIVER 


Observe  particularly  the  phrasing  in  the  following  example,  and  emphasize  the   first 
beat  of  each  measure: 

DUKE  STREET 

JOSEPH  HATTON 


I79II 


137 


In  the  following  example  the  notes  to  be  repeated  are  indicated  by  marcato  or  staccato 
signs.   Observe  the  phrasing  and  dwell  slightly  upon  the  first  beat  of  every  measure. 


STATE   STREET 


J.  C.    WOODMA.S 


(J  -.  56) 


Ues^ 


^ 


=s= 


i 


i 


jO. 


-o- 


:2- 


VrTf 


T 


^gr 


r 


rrvr 


-t»- 


^ 


-^>- 


33: 


<'>:i^ia 


m 


A 


zz: 


Ty 


=^=;? 


TT 


TF" 


o       A 


i<j;¥  J  I J  J  .1 

^    r     r  r  f 


rTj  J  ^   J 


TT 


r  r  r  r 


t 


SIP;: 


Ie 


r  r  r  r  r 


f  «  g 


s 


r    r  r 


~rr 


I79II 


138 


The  following  example  is  written  in  |- time, 
and  yet  the  natural  pulsations  of  rhythm  clearly 
indicate  double  time.     It  were  better  therefore 
to  feel  two  beats  in  the  measure  and  not  four. 
This  entire  hymn  is  divided  into  four  complete 
sections,  each  of  which  constitutes  a  phrase, 
but  it  will  be  observed  that  we  have  subdiv - 


ided   each  of  these   phrases  into  two  parts, 
not  with  the  intention  however  of  breaking  , 
or  separating  them,  but  with  a  view  towards 
a  better  understanding  of  the  meaning  of  each 
musical  phrase. 


HAMBURG 


(Jr48) 


Arranged  by  LOWELL  MASON 


I79II. 


141 


Lesson  N9  83 

Hymn-tune    Playing-  (Continued) 


American  Hymn-tunes 


Without  entering  into  the  history  of  Amer- 
ican church  music,  it  will  be  of  interest  to  con  - 
sider  that  the  beginning  in  this  country    was 
made  by  "William  Billings,  who  was  born  in 
Boston    Oct.  7^-^    1746,  and  died  there  Sept. 
29tb  1800.     He  was  entirely  self  taught,  and 
to  use  his  own  words,  did  not  believe  in  con- 
fining himself  to  any  Rules  for  Musical  Com- 
position laid  down  by  any  that  went  before  him, 
but  thought  it  best  for  every  composer  to  be 


"his  own  carver'.'    It  is  quite  evident  that  he  was 
"an  original  geniusj'  and  although  he  published 
many  volumes  of ''psalm -tunes','  yet  very  few 
of  his  "compositions"  have  survived    even  to 
this  day.    His  best  known  tune  entitled  Ches- 
ter "was  frequently  sung  and  played  during 
the  time  of  the  Revolution,  and  became  very 
popular  throughout  New  England  .  We  give  it 
here  in  its  original  form  merely  as  a  matter 
of  curiosity; 


CHESTER,  L.  M. 


^ 


BILLINGS,  1770 


% 


Ten. 


Alto 


Sop, 


-»- 


Let   the  high  heav'n  your  song-s   in     -      vite,  Those  spa-cious  fields  of  bril    -    liant     light, 


i 


S 


IE 


IE 


IE 


32 


-O- 


-O- 


Let    the  high  heav'n  your  songs   in      -      vite,  Those  spa-cious  fields  of  bril    -     liant      light, 


=3= 


■      p        f   ^    f  p  ^z—g^ 


il  I2Z 


^ 


^'y     d     I      o 


Let    the  high  heav'n  your  songs in  -  vite,  Those  spa-cious  fields of    bril    -     liant     light, 


>>:,    ^     P 


§ 


^ 


f    '   f  0 


^ (& 


Bs 


^ 


zssz 


^-g- 


Let    the  high  heav'n  your  songs in  -  vite,    Those  spa-cious  fields of     bril    -     liant      light, 


^ 


r  r  I  r  u  r  r 


3E 


'^      p  r 


w 


m 


w —     *^ 


Where  sun  and  moon and      plan     -      ets       roll    And     stars  that  glow         from  pole to       pole 


^ 


mi 


Where  sun  and  moon       and        plan    -    ets 


roll,  And     stars  that  glow        from  pole: to      pole. 


-O — n-^ 


^ 


P 


i 


^ 


? 


^ 


^ 


m 


Where  sun  and  moon       and 


M * 


plan 


ets      roll,     And  stars  that  glow 


from     pole. 


to       polt 


rrirrL;rJ 


^ 


-e &■ 


^ 


Where  sun  and  moon        and 


plan 


;ts      roll,  And     stars  that   glow .  from      pole to       pole. 


I79II 


142 


N.B.  As  was  customary  then  in  part- writing, 
the  first  line  was  assigned  to  the  tenor,  the 
second  to  the  alto,  the  third  to  the  soprano, 
and  the  fourth  to  the  bass  voice. 

Contemporary  with  Billings  was  Oliver 
Holden,  who  held  about  the  same  views   re- 
garding musical  composition,  and  whose  writ- 
ings belong  in  about  the  same  class.  Hishymn- 


tune"Coronation"however,has  stood  the  test  of 
time,  and  is  as  popular  today  as  it  was  a  hun- 
dred years  ago.   The  tune    should  be^given  out" 
with  powerful  stops,  and  played  throughout  upon 
the  Great  with  the  full  Swell  coupled, augment- 
ed by  an  adequate  Pedal  organ.  The  third  line 
however  should  be  played  by  the  manuals   a- 
lone  as  follows: 


CORONATION 


(J --96) 


OLIVER  HOLDEN 
1765-1844 


i 


4-^ 


tt 


i 


i 


m^=^ 


^ 


^ 


r¥^ 


r 


j^ 


f 


fr 


FTrrr 


r~^ 


r 


m 


U 


J: 


"U±i 


^^ 


rj    rj 


^ 


^:^ 


§ 


^ 


^ 


2Z 


^^ 


A 


A      o 


I79II 


143 


Notwithstanding  the  fact  that  Billings 
and  Holden,   and  some  other  writers  of  hymn- 
tunes  were  pioneers,  the  real  honors  belong  to 
Lowell  Mason,  who  may  justly  be  considered 
"The  father  of  American  Church  Music? 
Aside  from  being  the  father  of  four  musically 
gifted  sons,  among  whom  was  William  Mason 
the  eminent  pianist  and  teacher  of  many   fa- 
mous pupils,  he  was  the  author  of  a  vast  num- 
ber of  hymn-tunes  which  are  widely  known  and 
loved  in  America,  and  the  foundation  of  a 
refined  musical  culture  throughout  this  coun- 
try is  largely  due  to  his  influence. 

Lowell   Mason  was  born  in  Medfield  Mass. 
Jan.    8th    1792,  and  died  in  Orange     New 
Jersey     August  ll^h    1872.     The  degree  of 
Doctor  of  Music  was  conferred  upon  him  by 
the  University  of  New  York  in  1855. 


The    following  are  among  the  most  pop- 
ular of  his  hymn-tunes,  and  they   may    all 
be    characterized  as   simple,  melodious,  de- 
votional,  dignified,  and   singable: 
Bethany,    Sabbath,   Laban,   Olivet,  Boyl - 
ston,  Downs,   Meribah,   Harwell,    Ariel, 
Henley,    Migdol,    Naomi,  Star  Wesley, 
Hebron,    Olmiitz  ,  and   Missionary  Hymn. 

It  is  impossible  to  reproduce  here     all 
of  these  hymn-tunes,  but   let  us    consider  a 
few    which  are  typical    examples ,  and  pre- 
sent them  for  manuals   and  pedals  as  they 
should  be"given    out. 


17911 


144 


Lesson  N9  84 

Hymn-tune  Playing  (Continued) 

BETHANY 


N9  1 


(Ji60) 


f/^^fTl 


i^ZrJ 


Sw.JtAg' 


')■■*  i  r 


g 


m 


v=n 


^ 


sncr 


TT" 


-cr 


-o- 


Ped.  Soft    16;  Sw.  to   Fed 


S 


^:RF 


^ 


xn 


-^ 


A 


LOWELL  MASON 


^^ 


CTT 


i 


^ 


* 


J         J-        i>       |J-       :^ 
-e o  - 


i 


fTf 


^[ 


-^ 


"TT" 


O 


^ 


•  • 


^ 


f=^=f 


^^ 


s 


s 


i 


^:b 


-O- 


3Ce: 


-^ 


-^ 


-o- 


t  J    J-   J) 


rzV! 


-^ 


>>^tt  r  r  p 


^ 


s 


J    J   J    ^ 


^ 


"0~ 


_o_ 


^ 


1  '  A  ' 


Tf 


I79II 


145 


SABBATH 


NO   2 


LOWELL   MASON 


I79II 


146 


BOYLSTON 


N9  3 


LOWELL  MASON 


i 


f 


t 


f 


g        cU- 


^ 
^ 


^^ 


31: 


^ 


TTf  f 


^ 


5iF 


g 


^ 


o    .     A 


TV         o 


zzz: 


i 


A 
32: 


o 


tun 


147 


ARIEL 


/Sw.   8'.^  4' 
PreparelOii.    F1.8'   Sw.  toGt. 

( Fed.  Bourdon  16' Sw.  to  Fed. 


N94 


LOWELL  MASON 


^ 


i 


^ 


^m 


^ 


f 


^ 


t^^ 


SwAWyW  8'&4' 


r 


r^TJ 


*>:,l>,    M    f 


^E^ 


i^^ 


^ 


^ 


S 


^ 


Ped.  Soft  16' Sw.  to  Fed. 


^"1'  u  I  f     r 


P 


^ 


1=^ 


M.^^ 


Gt., 


^ 


» 


;y 


p-  p  r  f- 


5d2: 


^ 


f=T 


^ 


Sw 


-h'-i,  r    ^^p 


^ 


^^ 


A 


^^     I? 


P 


^^ 


^^ 


^ 


» 


^^^ 


P 


IS 


♦li 


«^#-^ 


Sw.  With  Oboe 


Gt.< 


^ 


i 


^ 


r  pop 


A^ 


A^ 


r  r  ir     r  i^^ 


^## 


^^ 


1 


^ 


:2z: 


z=~7y 


I79II 


148 


MISSIONARY  HYMN 


N9  5 


LOWELL  MASON 


i 


-J 


yb-f--r  r 


^ 


^^ 


1 


^E^ 


^ 


^i 


GtV    /coupled  to  Sw. 


'i 


i-i-^j^ 


A 


fit.  to  Ped.  A 


=«^ 


A^-^    °         A 


f 


? 


g  ^ 


I79II 


HARWELL 


149 


NO  6 


cJ:72) 


Gt.  8'A  ■t'with  Full  Sw. 


* 


t 


m 


n 


^ 


i!i* 


LOWELL  MASON 


$ 


^S 


3 


flP 


^5 


r 


rtTTTff 

^  m  • 


f 


rp 


i 


«.# 


^ 


MM 


■J) 


i 


U 


^ 


E 


f^ 


s 


},r:TJ 


s 


^^g^ 


^^ 


ssa 


•  •  • 

"       A  A 


*'     #   T    # 
-         A 


O-J. 


*: 


^^ 


i 


Sw. 


^^ 


» 


s 


f  f  >■  ^^ 


'j--  r  ^  f 


Sw. 


.«     4K 


S 


^ 


^3e^?e 


£ 


?=? 


m 


=^ 


^ 


^ 


^ 


r  r  p ' 


M 


—       j»o(?o  r«Z! 


i 


^ 


fffirf^ 


r 


m 


CA 


^ 


m 


^^m 


E 


M^ 


m 


^ 


S 


^^ 


^ 


# — # 


I79II 


\ 


150 


Lesson  N9  85 

Hynin-tune  Playing  (Continued) 
American  Hymn-tunes  (Concluded) 


It  would  be  difficult  to  find  three  more 
melodious  or  popular  hymn-tunes  than  "Top - 
lady,"  'Retreat"and"Ortonville"  by   Thomas 
Hastings,  who  was  born  in  Washington  Conn. 
October  15,  1784,  and  died  in  New  York  City, 
May  15 ,  1872 .    He  was  a  teacher  of  music  in  Utica, 


Albany  and  New  York, and  received  the  degree  of 
Doctor  of  Music  from  the  Universilyof  New  York 
in  1858. 

Each  of  these  tunes  maybe  played  upon  one 
manualjin  the  manner  of  those  given  in  the  preced- 
ing lessons,  or  by  separating  the  parts  in  a  more 
melodious  way  as  follows: 


TOPLADY 


Prepare  \ 


Sw.  8'  with  reed  &  Tremolo 

Ch.    Dulciana  8' 

Fed.  Bourdon  16'  Ch.to  Fed 

N91  (^--^*) 


THOMAS   HASTINGS 


Sw, 


I79II 


The  simplicity  of  the  next  hymn-tune  is  better  preserved  however  by  playing  it  in  the 
following  raan-ner. 


151 


RETREAT 


(J:  92) 


THOMAS  HASTINGS 


B      ^ 


i 


i 


m 


t  t  i  i 


• — &■ 


Sw.  8' 


p^ 


^ 


^—TJL 


fe^ 


# 


Ped. Bourdon  16^  Sw.  to  Ped. 


'M  J     I  J.     J 


~J^ 


-G-^ 


^ 


W=^ 


rit 


m 


=^ 


I 


i 


m 


szizs: 


«=*=# 


^^ 


^ 


^ 


i 


g 


i 


£ 


2Z5 


''>''    rj 


t>:    r 


pr-tr-s^ 


J    M.     J. 


o  A 


tS^ 


rJ'     rJ 


Likewise   the  following: 


ORTONVILLE 


fet 


(i^zlOS) 


THOMAS  HASTINGS 


S 


^ 


^ 


f 


S=5 


^ 


£ 


^=1 


Sw.8  6  4 


^^ 


'y-h^'^  p 


^^^ 


^ 


#-= — p- 


I79II 


152 


The  tune    Martyn  'by  Simeon  B.  Marsh, 
set  to  Rev.  Charles  Wesley's  hymn :"jesus, lover 
of  my  soul,"  about  which  the  Rev.  Henry  Ward 
Beecher  said  :  "l  would  rather  have  written  that 
hymn,  than  to  have  the  fame  of  all  the  Kings 
that  ever  sat  upon  the  earthl,'is  dear  to  the  hearts 
of  American  church-goers.    It  is  exceedingly 
simple  in  style,  and  must  not  be  sung  too  fast, 
the  most  appropriate  tempo  being  about  92  for 


the  eighth  notes. 

Student  should  observe  carefully  the 
syllabic  repetitions, without  however  destroy- 
ing the   sense  of  legato  phrasing. 

The  composer  of  this  tune  was  born  in 
this  country  June  ist,  1798,  and  died  July 
14t>,  18  75 


MARTYN 


^Sw.    8'  &  4' 
Prepare\Gi.    F1.8',   Sw.  to   Gt . 

Ped.  Bourdon  16  ,  Sw.  to  Ped. 


SIMEON  B.  MARSH 


(^z  92) 


^# 


P 


^rm 


:3^r 


Sw.  <  Je  -sus,  lov-er 


of   mv  soul, 


Let  me  to  Thy 


bos  -  om 


i  ^i^ 


i- 


^ 


While  the  near-er 

Sw. 


m 


While  the  tem-pesf 


high._ 


^^ 


^ 


A 


i 


17911 


157 


m 


i£ 


i 


J    ii 


Gt. 


i 


il)     J-    ;.  i)  i) 


Gt .  to  Pcd  . 


m 


t 


CI. 

A  o 


Other  hymn-tunes  of  American     origin 
might  be  cited,  but  the  following  are   es- 
pecially recommended  to  the  student  as 
typical  examples:  ''Rest"  and    Woodworth"by 
William  B.  Bradbury,    Frederick  ',  "Newbold',' 
"Heber'' and  "Ware"  by  George  Kingsley, 
"Greenwood     by  Joseph  E.  Sweetser/ Rath- 
bun"  by  Ithamar    Conkey,   'Flemming"  by 


F.  F.  Flemming,  "Hymn"  by  J.  E.  Gould, 
'  Bemerton"  by  H.W.  Greatorex,  "America" 
by  Henry  Carey,    Webb    by  George  J.  Webb, 
"Rockingham"  by  E.  Miller,  "Wareham"by 
William  Knapp,  "Stephanos"  by     H.  W. 
Baker, and  Shining  Shore"  by   George    F. 
Root. 


I79II 


158 


Lesson  N9  87 

Hymn-tune  Playing  (Continued) 
English  Hymn  -tunes 


Many  of  the  English  hymn -tunes  sung  in 
this  country  are  noted  for  their  rare  beauty 
and  sterling  worth,  and  it  must  be  admitted 
that  those  which  we  have  selected  as  exam- 
ples,are  models  of  form  and  religious  mu- 
sical expression.  It  is  indeed  very  difficult 
to  choose  from  the  following  remarkably  choice 
list,  but  special  attention  is  called  in  the 
list  given,  to  the  syllabic  repetitions  of  cer- 
tain notes,  and  also  to  the  manner  of  phras - 
ing  indicated,  with  particular  reference  to 
a  proper  enunciation  of  the  accompanying 
words. 

Rev.  John  B.  Dykes,   "Nicaea" 

"St.  Oswald" 


''Vox  Dilecti" 
"Vox  Angelica" 
"St.  Agnes" 
"Lux  Benigna" 
"St.  Cuthbert" 
"Sanctuary'' 
"Almsgiving" 
"Gerontius" 

Sir  George  John  Elvey,"Diademata" 

n  "St.  George's  Windsor'' 

Alexander  Ewing,        "Ewing'' 


Sir  Joseph  Barnby, 
>> 

}} 
)) 


"O  Paradise" 
"Lades    Domini" 
"Merrial" 
"St.  Andrew" 
"St.  Anselm" 
"Perfect  Love" 
"Requiem" 
"St.  Chrysostom" 
Edward  J.  Hopkins/'Ellerton" 

„  "Temple" 

William  Henry  Monk/'Eventide" 
n  "Hursley" 

(Arranged  from  Peter  Ritter) 
Sir  Arthur  Sullivan,"St.  Gertrude" 
>)  Resurrexit" 

''Angel  Voices" 
"The  Homeland" 
Heaven  is  my  home" 
"Adeste  Fideles" 
In  playing  the  following  tune,  Nicaea" 
by  J.  B. Dykes, note  the  difference  of  touch; 
marcato,  staccato  and  tenuto ,  but  do  not  ex- 
aggerate the  shortening  of  either  the  marcato 
or  staccato  touches,  the  main  object  being  to 
acquire  clearness  and  distinctness  of  enun  - 
ciation. 


John  Reading, 


I79II 


NICAEA 


159 


J.  B.  DYKES 
1SS3  -  187S 


%  J-      Ji 


i 


i 


^ 


f^T^ 


Ear   -     ly     in      the 


^rr 


r=f=r 

song  shall  rise 


T 

to 


morn 


ing      our 


I 


ag 


:| 


*f^ 


aft 


i 


i 


g^ 


f 


-^ 


A  o 


A 


U. 


m 


^^ 


J.   J^  J   J 


P 


♦ — # 


ho 


7" 


i^:ZE 


F 

Ho  -  ly,     ho 


-  ly, 


ly, 


^ 


mer  -    ci  -  ful      and 


f ^ 


? 


1^ 


g^ 


icffii^rrzz 


221 


DOC 


jch 


^ 


r?i; 


/T\ 


^^ 


f     M 


"T^ 


God 


in        three 


gt 


per 

l9- 


sons , 
_(2 


bless -ed     Trin 


£ 


I79II 


,^ 


A 


160 


"/ 


The  same  thing  is  true  in  playing  "O  Paradise"  by  Joseph  Barnby,  one  of  the  most 
beautiful  of  all  hymn-tunes. 


0  PARADISE 


JOSEPH  BARNBY 


(J:  116) 


k 


g 


^^ 


:s: 


}-.  "  '  ; 


t 


t 


doth  not   crave  for 


f^ 


O 


s-w. s'fr 4  mfl  - 

h 


Par  -  a-dis^e!  O 


Par  -  a  -  dise  ! 


WTio 


^ 


rest? 


? 


e 


Fed.  16'  Sw.toPed. 


A  A 


A 


i  U-        i  'J 


^ 


i 


l>  I?  4 


A A 


^ 


^ 


^ 


i 


i 


? 


1 


W 


g^f     'P 


Who    would  not    seek   tEe 


T 

hap  -  py      land, 


blest? 


Where 


they  that  loved  are 


I79II 


161 


Lesson  N?  88 


Hymn-tune  Playing  (Concluded) 


<'i 


Observe   in  the    following- tune,'" Ewing',' 
the  uniformity  of  phrases  throughout: 
1 /'Jerusalem  the  golden." 

2.  "With  milk  and  honey  blest  I" 

3.  "Beneath  thy  contemplation!' 

4.  "Sink  heart  and  voice  oppressed/  etc. 
Each  phrase  however  should  be  separated 


only  slightly,  in  order  that  the  smooth  and 
flowing  character  of  the  hymn -tune  may  be 
perfectly  preserved,  and  if  played  with  ex- 
pression, the  Swell -pedal  should  be  used 
with  great  discretion  and  skill,  without 
disturbing  the  true  legato  style  of  the  pedal 
part  . 


EWING 


(J  :52) 


A.   EWING 
1830-1S95 


;79ll 


162 


4 


fc 


w 


LJf 


neath  thy       con  -   tem 


:fc,  f    r    * 


f 


pla  -    tion, 


m 


f 


Sink 


C^5? 


heart  and  voice    op 


pressed: 


19-^ 


» 


g3 


g 


i^ 


^^=±4=^ 


^ 

^^f: 


i 


^=i 


-J-    J) 


if^ 


f 


^F^ 


r  V  r^r 


know  not,   Oh        I 


know     not. 


WTiat 


so  -  cial  joys  are 


there, 


¥5rg;^ 


^=^ 


m 


g 


^^p=^ 


s 


^ 


m 


-S: 


^ 


A 


o  I A 


o  »-  oA 

A  ^-' 


rtf. 


What 


ra  -  dian  -  cy        of 


"^ If 


.o A_ 


glo    -    ry: 


^ 


f 


What 


£ 


T~rf_p 

light  be-yond     com 


T 

pare 


J  r  r   J  I     1^^ 


o  'A 


A 


^ 


JSI 


17911 


"^Eventide"is  a  devout  and  prayerful  hymn- 
tune,  and  should  be  played  in  a  very  quiet,  smooth 
and  sustained  manner,  with  soft  flute  and  string: 
tone  stops  of  eight  feet  pitch,upon  the  Swell  organ, 

EVENTIDE 

(J  .-88) 


163 

supported  by  one  soft  sixteen  foot  stop  in 
the  Pedal  organ  (preferably  the  Bourdon), 
to  which  the  Swell  manual  should  be  coup- 
led. 


W.  H.   MONK 
18^3  - 18S9 


Ped.16'  b   Sw.  to  Fed. 


nh  \  \'  ^ 


i 


331 


^ 


^ 


o        A 


A  o 


m 


i=t 


;;a 


-o- 


-o- 


f=T 


dee  -  pens • 


Lord  with  me      a 


"TX" 


bidel 


# 


hel  -  pers 


^ 


-o- 


^iSTtiT 


i 


^ 


-o- 


ZZZI 


rPr 


tx> 


oo 


fail,  and    com-forts 


flee, 


Help  of   the 


help-less,  Oh    a   - 


bide  with 


Si 


s 


E 


-»- 


O  ' 


"o      K 


W 


m 


-^ 


me! 


TT- 


I79II 


164 


On  account  of  the  martial  character  of  the 
following  hymn-tune  ;  "St.  Gertrude^'  the    re  - 
petitions  of  the  syllables  should  be  marked 
very  clearly  and  distinctly  by  the  manuals,the 
pedal  part  being  sustained  however  in  a 
legato  and  dignified  manner.     Although  written 
in  ^  time, the  best  effect  is  obtained  in  double 


time  (alia  breve), with  a  strong  accent  and 
stress  upon  the  first  beat  in  each  measure. 

Do  not  separate  the  phrases  indicated  by 
the  double  bars, but  play  in  absolutely  strict 
time,  with  the  exception  of  the  two  closing 
measures,  where  a  positive  ritard  may   be 
made. 


ST.  GERTRUDE 


,Sw.  Full 
rreparelci.    8'&4',  Sw.  to    Gt . 

^Ped.  16'&8',   Sw.  &  Gt.toPed. 


(J -.54) 


ARTHUR    SULLIVAN 
1842  -  1900 


fV     "-     ^     "- 


s 


t=^ 


Gt. 


'On-ward  Chris-tian 


March  -  ing      as       to 


^>: ,    4    o      =f 


^ 


war. 


g 


-o- 


fc^ 


Ped./16'&  8',   Sw.  &  Gt.to  Fed. 


s 


&^ 


A 


i 


i 


i  ^ 


i^ 


% 


^ 


TT 


'i    ^   }    r 


^ 


^ 


sus 


f 


^^ 


-*>- 


With     the     cross      of 


')\  f    f    f    f 


Je 


-JZL 


Go 

it 


ing 


on 


3x: 


A 


-O- 


fore: 


TT" 


I79II 


165 


* 


1      i     J      J 

tilt 

Christ    the     Roy  -     al 


■Kf  r  r  r 


$ 


^^ 


Mas 


ter. 


r      r 


■1  j   J  j 

r   r   r   r 

Leads    a  -  gainst    the 


f=^=# 


foe; 


<> 


A 


^ 


P 


-^ 


-O- 


J      J       j      J 


J— J      J— J 


^^ 


r   r    f    f 


-r  f  r  r 

For -ward       in  -     to 


J         j  j  J 


f=f 


:§: 


bat 


tie,. 


%  I      ? 


^-^     j^ 


See,   His      ban-ners 

-^     J     J     J 


8:0 


f 


-n- 


^ 


-J%__ — _-c 


offGt.to  Fed. 


^ 


3x: 


r" 


it  t  r  r 

Sw.  <On-ward,Chris-tian 


r 

sol 


diers, 


^ 


t  t  t  r 

March-ing    as      to 

it « 


war 


m 


A   Gt. 


m 


-e>- 


Gt. 


m 


i=J: 


^ 


2^  r?7. 


/Ts 


E 


?^^^ 


Je     -     sus, 


Go   -    ing        on  be 


<>i> 


With       the     cross       of 


§ 


if- 


^ 


^ 


E 


fore. 

— ^ — 


Gt.to  Fed. 


^ 


/C\ 


iq: 


'  A 


I79II 


160 


''Adeste  Fideles''  commonly  known  as  the 
Portuguese  Hymn,"  is  generally  attributed 
to  John  Reading,  an  English  organist  who 


was  born  in  Winchester,  England,  early  in 
the  17th  century,  and  died  there  in  1692. 


ADESTE   FIDELES 


(J:,. 


6) 


^ 


i 


J.  READING 


^m 


r_      r   r 

joy-ful     and     tri 


r 


Gt.8 
with  Full  Sw.  , 

f!0 


1^-^ 


come,    all       ye 


faith -ful, 


'y-hlV 


T    r    r 


i 


um  -  phant, 


Ped.l6'&  8',   Sw.  &  Gt.to  Fed. 


^VitJ  4 


^ 


S 


f 


^=V 


A 


!79ll 


167 


i 


m 


i 


^ 


=^P-^ 


1^ 


man      -        ger, 


lies     the    King      of 


An      -       gels; 


L±J 


£ 


i^£ 


£ 


:^ 


^ 


off  Gt. 
_  to  Fed. 


^ 


i 


7^  5" 


A  oA 


,Sw. 


^ 


^ 


i 


^^^^=^ 


^ 


f 


t 


r 


o 


come  let     us       a 


dore    Him, 


T 


O 


r — r 


come  let      us       a 


dore    Him, 


Gt. 


^m 


N#^ 


f — » 


^ 


^ 


J  i  "i 


'^ 


fa#^ 


^ 


i^ 


^ 


f 


f^ 


? 


^=^ 


Christ- 


Gt.<  O 


come  let      us        a 


J 


5^ 


^i=. 


dore  Him,, 


J 1 


the 


^U 


r 

Lord. 


Gt.to  Fed. 


^rt 


ZZ 


A A 


3 


E 


i  i  ^  J  I  o 


A  o 


I79II 


168 


Lesson  N9  89 


Interludes 


The  average  interlude  inserted  between 
the  verses  of  a  hymn  in  a  religious  service, is 
an  abomination  to  the  Lord.  This  custom  may 
have  been  designed  either  for  the  purpose   of 
furnishing  the  choir,  or  congregation,    an  op- 
portunity to  take  a  long  breath,  or  a  desire  on 
the  part  of  the  organist  to  "show  off."  In  any 
event  there  should  really  be  no  necessity  for 
playing  an  interlude  after  every   verse,    and 
the  less  frequently  it  is  introduced,    so   much 
the  better.   There  was  a  time  when    organ- 
ists considered  it  the  proper  thing  to  play  an 
interlude  between  every  other  verse   of  the 
hymn,  but  even   this  habit  has    become   al- 
most  obsolete,  and  few  organists   to-day  in- 


dulge in  this  opportunity  for  exhibiting  their 
skill, or  egotism. 

If  for  any  reason  the  organistwws/'play 
a  little  piece"  between  the  verses,  he  should 
either  be  prepared  to  a  certain  extent, to  ex- 
temporize in  accordence  with  the  laws  of  cor- 
rect musical  construction,  or  else  confine  him- 
self strictly  to  repeating  a  strain  of  the  tune 
which  has  just  been  sung. 

In  the  first  case  a  knowledge    of    the 
fundamental  laws  of  harmony   and     correct 
chord  progressions  is  required  ,  even  by  those 
who  are  gifted  with  musical  invention. 


I79II 


169 


The  words  of  the  succeeding  verse  of  the 
hymn  should  always  determine  the  style    or 
character  of  the  interlude  to  be  played,  and  in 
length  the  interlude  should  not  exceed    eight 
measures.   It  stands  to  reason  that  the  tonali- 
ty of  the  hymn-tune  must  always  be  preserved, 
and  that  the  interlude  shall  not  modulate  into 
remote   keys.  If  the  tune  happens  to  be  in  minor, 
the      interlude  should  at  least  end  with  amin- 
or,and  not  a  major  chord, and  vice  versa. 

It  is  also  logical  and  sensible  to  extempor- 
ize in  the  same  metre  as  that  of  the  tune  itself, 
and  not  to  change  from  double  to  triple  time,  or 
in  the  opposite  manner. 

A  melody  played  upon  a  solo -stop  may  be 
utilized  in  an  interlude, if  it  is  appropriate  to  the 
sentiment  of  the  hymn,  but  all  runs,  trills,  ar- 
peggios or  variations, are  not  only  distracting, 
but  woefully  out  of  place  in  this  connection. 


The  pupil  should  therefore  avoid  in  play- 
ing everything  of  a  frivolous  and  disturbing  na- 
ture, and  cultivate  a  feeling  of  devotion  in  keep- 
ing with  the  spirit  of  the  sanctuary,  and  while  ex- 
temporizing or  playing  even  an  interlude,  he 
should  endeaver  to  have  in  mind  a   definite 
idea  of  accomplishing  something   appropriate 
to  the  occassion,which  shall  be  of  some  musi- 
cal or  aesthetic  value. 

If  he  can  aid  in  depicting  a  correct  relig- 
ious mood, so  much  the  better. 

There  is  nothing  more  offensive  in  a  church 
service  than  the  playing  of  long,  meaningless, 
and  rapid  interludes,  exceptijig  perhaps  a  vulgar 
mutilation  of  the  hymn-tunes  themselves.We  have 
seen  that  the  source  of  an  interlude  may  be  deriv- 
ed from  the  sentiment  of  the  words  to  be  found  in 
the  succeeding  verse  of  the  hymn,  but  it  may  also 
be  constructed  upon  some  motive  or  characteristic 


I79II 


170 


interval  of  the  tune  itself,  which  method  is  term- 
ed "a  thematic  treatment!' 

In  the  limited  scope  of  an  interlude   how- 
ever, the  development  of  a  theme  is  naturally 
very  much  restricted,  and  it  should  be  worked 
out  only  in  an  imitative  or  sketchy    manner. 
Nevertheless  the  student  will  find  a  most  in- 
teresting and  valuable  source  of  material,  in 


the  utilizing  of  such  characteristic  motives,  or 
germs  of  thought,  as  are  to  be  found  in  nearly 
every  hymn-tune.  For  instance;  the    familiar 
tune, "Seymour"  which  by  the  way,  is  of  a  theme 
byC.M.vonWeber,andis  constructed  mainly  upon 
the  interval  of  a  major  or  minor  second,name- 


ly: 


1,  Jij  J  : 


f 


n 


will  be  seen  in  the  following  examples: 


as 


f 


i 


f 


i 


§ 


m 


^ 


i 


M 


T 


1 J 


f 


J-A 


r 
id 


La 


i 


J 


r 

-I 


^^ 


^ 


^ 


f 


^ 


^ 


n 


i 


^ 


4 


i 


N 


m 


^ 


La 


f 


^ 
^ 


T 


r 


^P^ 


u 


J=A 


r 


I79II 


171 


Further  analysis  will  disclose  the  same  intervals  in  the  tenor  part: 


m 


N^ 


In  the  second  and  fourth  sections  of  the  hymn-tune,  the  interval  of  the  minor  third  forms   a 
characteristic  feature,  namely  ;  '^J'  j,    f^ 


^ 


^m 


p 


A  peculiar  analogy  of  the  repeated  notes  in  the  soprano  part  of  the  second  section: 


/L  [y    J  3~"J^^     is  found  in  the  bass  part  of  the  first  and  third  sections:    ^J:^    ^  -# 


and  each  of  these  characteristic  motives  may  be  utilized  in  the  playing  of  interludes. 
Take  for  instance  the  familiar  hymn-tune  "Sabbath"  by  Lowell  Mason: 


SABBATH 


m: 


^ 


i. 

m 


f 
m 


LOWELL    MASON 


-e- 


[\nil  UJ 


"ynrf 


h   i 


i.  m 

f  r  r  r 


f 


^ 

^ 
^ 


b^ 


'        r 


_^2n_ 


r 


I79II 


172 


# 


^ 


7     j: 


f 


^ 


m 


P 


f 


f 


1=^=^ 


f 


h  i 


^ 


# 


t      ^     4 

0      »     W 


i 


f 
i 


^ 


t=A 


^ 


f 


f 


r 


The  principle  motives  of  course  are  as  follows: 


m^ 


P 


m 


#i-* 


4 


* 


^ 


i== 


^ 


The  tune  "Dennis,"  which  is  an  adaptation  of  a  theme  by  H.  G.  Nageli,  is  made  up   almost 
entirely  from  the  following  short  motives: 


1 


m 


^ 


I79II 


173 


m 


6 


^ 


9 


^ 


10 


^ 


as  will  be  seen  by  comparing  them  with  the  tune  itself,  as  follows: 


DENNIS 


Arr.  from    H.  G.    NAGELI 


i 


i 


^ 


J 


iU 


UA 


^=^ 


^  t  ^ 


U4 


^^ 


^ 


^¥ 


^ 


f=f 


^ 


^ 


i 


t 


m 


i 


^ 


^ 


f 
i 


r=T 


3 


r 


i 


^ 


i=J=J: 


« 


iJ 


J 


i 


Ji 


iOJ- 


I 


g 


^ 


^^^ 


P=^ 


F^ 


f 


It  is  therefore  recommended  that  the  student  select  several  familiar  hymn-tunes,    and 
write  out  the  characteristic  motives  to  be  found  in  each  of  them. 


I79II 


174 


Lesson  N9  90 

Canon    in    F,  OUSTAV  MERKEL 

Edited  by  Clarence  Eddy 


This  remarkably  fine  Canon  was  orig:inally 
written  in  F  sharp ,  and  is  transposed  a  semi  - 
tone  lower  for  the  sake  of  greater  convenience 
in  playing  the  pedal  part,  which  requires  equal 
smoothness  and  finish  of  phrasing  as  the  man- 
uals. 

In  order  to  acquire  perfect  independence 
between  the  hands  and  feet,it  is  recommended 
that  the  pedal  part  be  practiced  first  alone, 
then  with  the  left  hand  ,  and  finally  with  both 
hands.    It  would  bewail  to  practice  the  right 
hand  part  also  alone,  for  the  sake  of  acquiring 
skill  in  fingering  and  phrasing. 

An  occasional  use  of  the   Swell    pedal 
will  relieve  a  monotony  which  would  other- 
wise result,  but  great  care  must  be    taken 


that  the  smoothness  in  the  legato  playing  of 
the  pedal  part  is  not  thereby  disturbed. 
A  frequent  use  of  the  heels  will  add  very 
much  to  the   general   smoothness  and   ease 
in  playing  the  pedals,  not  only  in  this  Can- 
on, but  in  other  similiar  selections, and  it 
is  urged  that  the  student  carefully  consider 
this    phase  of  his  organ   playing. 

In  preparing  this  edition  great   pains 
have  been  taken   not  only  with  the  fingering 
and  pedalling  throughout,  but  with  the  mark- 
ing of  every  individual  phrase. 

Note   for  example  the  opening  phrase 
in  the  leading  soprano  part. 


I79II 


175 


which  is  broken  at  the  repetition  of  the  A 
natural,  and  each  section  is  fingered  in  such 
a  manner  that  it  can  be  played  absolutely 


legato.     The   answer  in  the   tenor  part   is 
phrased  and  fingered  with  precisely  the 
same   care. 


g 


P=gi 


^ 


8         2 


3      12        12 


The  second  note  of  all  phrases  of  two 
notes  should  be  shortened  about  one  half 
its  length,  and  the  final  note  of  longer 


phrases   somewhat  less  than  that ,  for  in- 
stance; 


i=i=^ 


rCJL/'iTfrr 


In  the  following  measure, the  left  hand  must  assist  the  right  hand   in    playing  the  alto 
part; 


and  the  final  note   (F)  of  the  soprano  part, 
shortened  sufficiently  to  enable  the  second 
finger  of  the  right  hand  to  take  the  half 
note  C. 


The  movement  should  be  perfectly  steady 
throughout,  at  a  metronome  tempo  of  about  72 
for  the  quarter  notes,  and  a  gradual  ritard 
made  during  the  last  two  measures  only. 


I79II 


176 


CANON  IN  F  MAJOR 

Opus  39,  N9  3 


,Sw.    8'&  4'    without  reeds 
I'reparelGi.     Flute  A    Gamba  8' 

^Ped.  Bourdon   16',  Sw.to  Fed. 


ifoderato  (J  r  72) 


GUSTAV  MERKEL 
Edited  by  Clarence  Eddy 


Manuals 


I79II 


177 


52    4      5      5     45      4 
81     -     2      1  1 


i 


? 


i 


^ 


5 
1 

J 


»      5 


■i  5-5 

1  3      1      ;s 


i 


^i 


5  5 

4— i- 


^^^^F^ 


r^ 


W^ 


%  p-prrrr 


^ 


ftfli^ 


^ 


^Mi 


m 


o        .  A 


m 


? 


A    o 


A    o  o 


)79li 


178 


5  3  2 


* 


h 


CIFT 


.^^ 


^ 


t  J  ^ 


ya^ 


5  4      3      4 


r^^ 


i^ 


^-^ 


^^ 


4      3      2      3 

2      1  1  Z'  -      2      3      1      2 


m4ffi 


vm^ 


341218  1  4  5 


12  1  2      3      2      3  1 


3       4 


17911 


179 


Lesson  N9   91 


Canon  in  B  Minor,  ROBERT  SCHUMANN 

Edited  by  CLARENCE  EDDY 


This  exquisite  Canon  was  written    for 
the  Pedal-Piano,  and  published  in  a  collect- 
ion of  Six  Studies  in  canonic  form   for  the 
Pedal-Piano  . 

Originally  it  offers  therefore  no  tonal 
contrasts,  and  is  merely  a  study  in  dynamics, 
the  musical  interest  lying  only  in  its  scien- 
tific construction  as  a  Canon    between  the 
soprano  and  tenor  parts,  but  when  transfered 
to  the  organ  it  is  imbued  with  new  life  and 


musical  charm,  especially  if  the  subject,  or 
antecedent,  and  the  answer,  or  consequent 
which  follows,  are  well  contrasted  in  their 
individual  tonal  qualities. 

In  the  registration  which  we  have  selected, 
an  extremely  effective  contrast  will  be  no- 
ticed between  the  predominating  reed  tones 
of  the  Swell   organ,  and  the  bold  flute  tones 
of  the  Great  organ,  as  follows: 


Sw.  Reed 


^^^^^^ 


ii;   ^       \ 


S 


t 


Flute 


^ 


P  V-  Ifp  V-  p  9'  P^ 


^ 


!79ll 


180 


It  is  understoed  of  course,that  the  chords  which  support  the  theme, are  merely  added  to 
supply  the  fundamental  harmonies,  viz; 


* 


ft 


i 


^  J^^.Ji^'ltJi^ 


^ 


! 


^  Jlv'  JU 


PTTJTfl 


f 


Tjw^y^ 


SwA    sjjj 


y-H   ^  ^  i  ^^  ^^  ^ 


Gt. 


-^  ?  ^^p  rM^^ 


In  order  to  mark  the  entrance  of  certain 
phrases,  Schumann  placed  a  sforzando  sign; 
(yf),  and  followed  it   immediately  with  a 
piano  sign;  (/?).    These  signs  we  have  left 
in  the  copy,  and  would  suggest  at  those  places 
which  are  marked  by  this  sign  •,(s/jif)  that  the 


player  open  and  close  the  Swell-box  sudden- 
ly, but  only  sufficiently  however  to  intensify 
the  accentuation.    The  appoggiaturas  through- 
out,  should  be  played  very  short  and  precede 
the  notes  of  the  chord,  as  follows: 


^^^^^m 


^ 


s 


1^ 


i 


± 


s 


M 


Sw. , 


Gt. 


m c « «. 


.V-*tt     N^^f^l^p;^ 


-p  ^  Itp  ;  p  ,-  Eg^ 


^ 


A  sharp  accent  should  be  placed  upon  the  note,  or  chord, which  immediately  follows   the 
grace  note 


1791 1 


181 


Great  care  must  be  taken  to  preserve 
a  uniform  staccato  touch  upon  the  manuals 
and  the  pedals,  and  the  best  results   are 
obtained  when  the  hands   and  the  feet  are 
kept  rather  close  to  the  keys,  therefore,  do 
not  raise  them  too  highl  Promptness  in  at - 
tacking  and  releasing  every  note  and  chord, 
is  a  very  important  feature  in  the  playing 


of  this  study,  and  it  is  urged  that  a  bright, 
brisk  tempo,  be  maintained*  but  without  any 
feverish  hurrying.    A  slight  ritard  may  be 
made  in  measure  82,  immediately  preceeding 
the  repetition  of  the  first  section,  but  there  should 
be  no  ritard  whatsoever  at  the  end  of  the  piece. 
For  the  sake  of  incisiveness,the  trills  in  measures 
58  and  59,  should  each  begin  with  the  g^ven  note, 
as  follows: 


Measure  58 


i 


^ 


"' — # 


f 


Measure  59 


I79II 


18S 


CANON  IN  B  MINOR 


/Sw.     Soft  8 'A  4' with  reed  (Cornopean  preferred) 
Prepare  iGt  .     Loud  Flute  8'(Doppel  Floete)  and  soft  String-  8' 

^Ped.  Bourdon  16'&  Dulciana,  or  Bell  Gamba,  16'and  F1.8' 

iVo/  too  fast  (J:  96) 


\^n  li^uJiU^^M 


Manuals 


Sw. 


ifP 


Pedal 


^y-h'i  I?  ^  ?pv'^»  l."j'^'"M  P^  P^ 


5  4 

2  2 

1  1 


SfEjte^p^ 


W*^ 


Gt. 


^*^ 


ROBERT  SCHUMANN 
Edited  by  Clarence   Eddy 


\,  h.  i^:  ^ 


ji?3>:l^  j^ 


;yP^P  ;y*P  j 


* 


« 


® 


it  Jt  ?  V  ,  } 


Jt  ji  nl  Ul  y  !i 


^^ 


* 


^  ^  ^^  '7  M  "P^ 


^^^^3 


%^^  t^  4 


ffp 


'y-h  g  y  ^  ^  ^  ^^ 


% 


■> 


^ 


i'  ?      i 


P  ^  ''p  ^  p  »  ^'  ^ 


y*lt  ji  ;  V  ^ 


n     7         P    ^5 


fe 


^ 


IIF 


v^t>Ji  W'^  ^f 


^^ 


jit  1    ! 


f  ^  ^''  p''  ^ 


F^t^f^f 


^^^^^^^ 


^/^k  ^^ 


I  ?  W   p    ?   p  ^ 


^m 


^ 


^• 


jw  V      i 


I79II 


183 


@  . 


jS^  ji  »  ji  ?  ^ 


m\  p  ^'-rt^  p  y  ^ 


P 


s 


■J — 9 — # 


i 


l-!-V     y 


# 


f 


^ 


E 


r^nf 


y 


^  p  y  p .  p^ 


p  ?  p^  p  y  ^ 


^m 


:^^ 


jl?     ^  P     ? 


M    '  P    ^      ^ 


14  3 

1  1 


* 


@ 


^  ^.  ^ 


^-SW  J't' 


^^ 


I; 


^ 


f 


sfp 


Sw. 


Gt. 


P  .I"  .     P 


.v^'it  p  »-p4  r^ 


^  '-^  p  ;  P"  ^ 


H  '  ^  '  ^ 


^^^^^ 


ii.^v     F 


±^ 


I79II 


184 


i 


« 


4 
2 
1 


^^^^^^^ 


J'  ^  j'  ^  i'  ^  ^i 


* 


S 


1?=^ 


p^P^P  y^P  i 


'^H     J^?  7     ^ 


J'w  ^     ji  i'  ^ 


I 


^fe 


^  f  p  ^  p  ffr 


?>-tfit  p  ^  ^  ^  ^  ?  ^ 


>-/'^J^J'^ 


^ 


^ 


^ 


-0    — ^^ — — *     — ^ 


?  ^tifl ;  g  ^^^ 


^  y      i 


'r-H;\^y    ) 


}]:/    1       P  ^ 


^ 


? 


4*11  Ji^l^?  jH^p 


;      '. 


^^ 


H  ^     ? 


JTYJY^  f  f 


F 


^ 


'>--h  P  7  "P  =1  Pw^ 


Sw. 


p  y  Up  y  p  ^  ^ 


M  U*  M  P  ^^ 


^S 


JW     7  I    p    ?     1'  ? 


^ 


¥ 


I79II 


185 


.*'lt  ^  />  .    >  ^  a 


fe3^3 


-m — — r 


Gt. 

i 


^^^^^^p 


^^ 


fefe^ 


@ 


y  I"  ?  p'  ?  p  ^ 


p  7  EJ^  P  ?  ^ 


A  A  o 


^^ 


4 


I' ; .  ji  J'  f 


1 


fe^ 


^L-si-^-r4 


^^ 


#=iti 


lt« 


^ 


ffp 


T 


f 


Sw. 


Gt. 


^y-h  ^  hu  ^ 


^  J .^ .  9 


p  ru  p  ?  '^ 


^  '   v'  ^    ^ 


.V'*lt    ii  y   7         » 


il.    V        ^ 


dl  ^     7  r       ^        7 


4 
8 
1 


^ 


*=^^ 


^^ 


w^ 


ii 


y^^»^ 


#* 


>>:ft,    P    .   y  F^ 


L.-j   r 


r  ^TTii  .^ 


V  '  ■? 


^^ 


^ 


J^  :y  7        £— 1£^^^ 


g     7^    ?  ^ 


I79II 


186 


Lesson  N9  92 

Canon  in  B  minor,    ROBERT  SCHUMANN 

(Concluded) 


add  Open  Diap.  8'  to  Sw. 


Edited  by  Clarence  Eddy 


i 


■^.  \ 


^  wh^H 


T^wi 


¥ 


ViFTiJ 


f 


n 


i 


i 


iW'^^r^ 


r— »• 


^3; 


^ 


^ 


fiyiyjw 


r^i^ 


3     -i 


I79II 


187 


^^ 


k 


^ 


I 


1 


r-Q^r^ 


s 


f 


p- 


"^ 


ji  ?  /I  J  ?  Jl 


S 


^ 


5E^ 


#*       tti 


'■^'■^   M    '  i'^ 


^  ?    ?    j^  -^  ?    il 


?    i^^^     If 


# 


*»: 5    -5 


^ 


^ 


i* 


i 


@ 


%\ 


^m 


± 


^-  i.  j^ 


?  J  ?  =  ?  g^ 


?= 


'  -n-  *     *    it 


/r 


^ 


g  ?  ^  i? 


^ 


^^-4^ 


o       A 


^   •>        f'   ^ 


I79II 


188 


^'>  ^'  ?  in 


f  ?  i{i  j"^  ? 


.>:  |>„    P   ^    P   ^    P   ,  ^ 


i 


;^ 


P  .  LJF,  P 


^^ 


£ 


# 


g 


± 


4 


^^ 


^^ 


i^ 


9        A 

4 


^1       1  I  fl     ?    ''  '': 


^^ 


^ 


i£ 


^s 


^^p^ 


^  H  ?  M 


^»=si=^ 


4 


7 


')  h  'I   y  r  P  ^^ 


il  ?  J)  ?  Jw  j^ 


il  ?  /^  JH  jtf 


y-  *i  j^  i'  ■>     p  ?  -^      I  f!  y  •>     p  y  •>     I  ji  ?  •> 


A      o 


4  1 

1 


i 


m 


h 


i 


^ 


•74     3 


^^ 


^  ?  A  ?  .^^=^ 


^ 


iJ  ^  n^ "?  3  J 


$  '  r* 


I 


p  y  p  ^  ^  ^  ^i^^= 


A 


V-  h  j)  ?  •>      ;^^ 


I 


p  v"  M  M 


@ 


H  4 


f 


7  .h^  «S 


t#^   7  kJ'^^?]^ 


•i       1  1 


f^  ihiK'^ 


i 


f 


i 


7-h  M  h  p  ^ 


p  ;  ji  ^f  ^ji  ^ 


ifrrp 


1 

A 


v^  *ft  p  ?  j)  ^  Ji  ?  f    ij)j-i  y  ■>      't'  ^  i 


I79II 


1S9 


*: 


I 


@ 


s 


■i       i 
1       1 


y-")!  ^  y  ''-f^^ 


^ 


"p  ?   MP? 

1 


^ 


^ 


3^^^ 


p  ?  ^p  ^   Vw^ 


^ 


^^S 


A       o 


m 


m 


m 


^  J  ?    J  ^<   f 


r 


^ 


^^3 


m^ 


E 


I 


1 


# 


it 


h. 


i 


*3S^ 


-F^ 


t>f  F?  p 


?  P    ?  '    ?s 


^^ 


4       3 


wm 


•>  p  ?  I  h?  ■>    ? 


^ 


fc=fc 


^^ 


g 


s 


1 


p  ?    Jl  ?   t^W     J  ? 


^ 


f  ?    •' 


y 


it? 


4V  i>      "P^ 


^  ?  i'  y  h  Ji  ?= 


;^=i 


?    Jl?    V 


^  ^^p  y 


s 


^s 


17911 


190 


I 


R  4 

i         i 


^^^^=^\ 


^?  •<       i 


m^^ 


i 


f^TWW^ 


y *f  a^P^P  ^*P  y 


^-^-^^ 


:J-'*lt  J^?  ■>      }\  H  'I       I  Ji?^^ 


^ 


a^'i »  J  ?  .^i 


@ 


H  tti  ?  i^m. 


?   V      ^ 


feESS 


H'v  KJi  7   j':t=^ 


* — 'W 


-0 n» 


?       ^?f^         ^^ 


^^:ita    ^^ 


v^^ii  '-g  ^  i^p  ^g^S 


:/  i^P     ^   b'  ^   '^ 


P  ^  ^^p  ^  P  y  'Ip^ 


y  ^it   jt  y  7     P  T^  7     I  ^ 


^7      7  Ip^    ^^ 


i 


I 


i 


^^ 


Se! 


E 


* 


^^ 


•      •      *  ^^^ 


;^ 


fvuJW^ 


'fP 


Sw. 


-n3  n  ?  P 


N  p  ?p  y  p 


^^^?^y^f"^ 


p  ?  ^'^  p  ^  n 


^*it  j^^  ->  j 


?  ?  ^   I J  ?  ^  ^p 


^ 


i 


^ 


fe 


^^=1^ 


^ — • 


4 
1 


•1— 3— » 


^rrr^ 


? 


P— ? 


iff 


^tJiii  B  ?  cdM^^ 


P  ^  ^  P  ?  P  ?  (|- 

7       p  ;?   7       p^^ 


^*r^ 


fr^     t 


I79II 


191 


:4 


L-^^^  f,  p^ 


^^m 


K        .  5 


^^^ 


9J  fy  4  • 


-ji ?  ^  ;w7' ? 


a^ 


fl  ?   I'  Jl  ?  Ep^ 


5eE 


4 


r 


i 


f 


JM  J? 


^^F 


^ 


r 


w^m 


m 


f 


* 


[# 


J 


^/n^ 


I 


^ 


jc^roe 


^ 


£ 


^^ 


£ 


* 


£ 


i 


5 


r^ 


? 


ff  '^^.^V 


2  3      2     4 


ETH 


2  3      2     4 


S 


^^ 


^^ 


^ 


2      12     3      1 


^S-     9& 


ivithout   -    -    rit 

3 


5 

I 

1 


^ 


^ 


^ 


r: 


Sw. 


S 


2 


^ 


« — p- 


ir—9- 


£ 


"f'  ^1 


A      2     * 


2      14      2      12 


'y^  ;>  r  ) 


#^ 


^ 


I73II 


198 


Lesson  N9  93 


CANON  IN  E  MINOR 

Op.  21    N9  1 


/Sw.    All  soft  8' stops*  Fl.  i' 
)Gt.     Flute  &  Gamba  8' 
Prepnre<iQ^^     Flute  &  String's   8' 

'Ped.  Bourdon  16'&  Flute  8'(or  Svv.  to  Fed.) 

Aiidantino,  ma  ito/i  troppo  (J  ;  66) 


Manuals 


Pedal 


THEODORE  SALOME 
Edited  by  Clarence  EUiiy 


t 


„    -4  5      3  5 

5  i       2  -      1 


S-w. 


t--j    n^pT^ 


4^^ 


&J 


Ch. 


/^pgLTSn 


PI 


ri 


Ch. 


^  p  '^  p  ^ 


3^^^ 


A 


l7Sil 


193 


>#^^ 


'L=i 


iij^  J^j.  Ji._^ 


^ 


^ 


S 


P-  #P 


?^ 


fi*» 


i^^r-T~ 


^ 


1  2  12  5 


•^'N^     -  li^^     r      If"    J''     j'""j'     ^ 


7  g  7 


A  o  A 


I73II 


194 


:79l! 


105 


* 


Ch. 


Sw. 


f      ^      ^V- 


^rfihH 


« 


^^    J  itj 


1 


=cz:p^ 


^ 


A      J     » 


1^=g? 


"2     r 


^* 


-■^ — ' —    ■- 


^,nrm 


5         ~T~ 


f  rrrfr- 


4-4^ 


3Z^ 


^ 


P^^ 


-  te' 


//6'ry  rit. 


^eeM 


5  T 


A  'o 


To 


1 

r  '    [    '   H 


I79II 


I79II 


197 


a  tempo 


± 


\ 


5  % 

1,  2, 


isfe^ 


i=i=r 


^ 


^ 


T^ 


^ 


r/r    f 


i:* 


J^^ 


.>)^<»  i'  ^  » 


^ 


^^J'  •'  i' '  P 


7        k   7 


^^^ 


a 


i: 


^^ 


i 


S 


^ 


^ 


^ 


cre.sv. 


m: 


^^ 


^Ei 


^ 


^ 


]!t       te       £ 


^|E^ 


}       LJl    7       ,  h    ^ 


^^ 


i 


I79II 


198 


<*  Up  f^  *.   L- 


i.        1 


m 


^^ 


I  3 

_        1 


^# 


^ 


,Sw. 


i 


I 


t 


f=?^ 


di?rL 


f 


*  ^ 


Tl 


/'l^  '  1  I       T 


Ch.  2  2  2 

4  5  4 


o         A     o 


■'■'^  cjr  ''  I'  iAi  '  1^  o-r  ^inrji  ^ 


dim. 


y 


^ 


^^ 


Ch. 


Sw. 


?  1 


5  —a 


r»j; 


^ 


iEs 


•  i  '^  r  f"'^ 


a 


r 


fiifi 


2  I 

5  * 


f 


BZIll^ 


r'^t. 


» 


Gt.  r 


^^3 


add  Fed. Violoncello  8' 
-A- 


^^ 


°       A  '■ 


^i-i^A  ''^-yjJ 


TTTT 


m 


ZSJZ 


A     ^  o 


I79II 


199 


Lesson  N9  94 


CANON  IN  A  MAJOR 

Op.  21,  N9  2 


A  regular  movement,  like  the  swinging  of 
a  pendulum,  should  be  kept  up  throughout  this 
graceful  Canon.  The  registration  given  is  by  no 

ISw.    Soft  8' stops  i  Oboe 
Gt.     Soft  String-  8' &   Fl .  4' 
Ch.    Flute  8' 4  String  8' 
Fed.  Bourdon  16 '  &  Flute  8  ' 


J^oco  Allegretto  (J-:  108 


Manuals 


means  arbitrary,  but  the  two  parts  in  imitation 
should  not  only  contrast  in  character,but  their 
different  qualities  of  tone  must  harmonize. 


THEODORE  SALOME 
Edited  by  Clarence  Eddy 


Pedal 


u 


^m 


81 


^^ 


i 


I 


( 


i^ 


^y=r 


3: 


:zn 


17911 


200 


( 


fc^ 


P 


^ 


2    ^1 


^ 


ffjffif 


^ 


f:  ^ 


J> 2 


f 


F    # 


1  ^ 


^ 


-• — i-^ 


^  '    it 


i 


i 


4        3       12 


^ 


( 


')■■¥  J    .  ? 


1    'f  •/ 


7      ^  7; 


7      ^  7= 


1 


*^ 


^ 


31 


!^S 


ffidi 


■  1'^    #     I — w 


r^ 


-7—7- 


s 


^ 


iir¥fP    P 


^ 


^ 


g 


15 


t4 


1        3 


:2c 


17911 


201 


.* 


m^^ 


5 


1 2 


^ 


^ 


^ 


^=^ 


iia  e 


^ 


3       a      1        2       1 


§ 


t 


g^ 


^ 


? 


22 


A 


Ch. 


^ 


m 


^^=^ 


S  1 


g 


^ 


^^ 


-T— ^ 


^ 


I79II 


202 


^ 


fe 


^ 


^ 


.  f  f 


E 


^— # 


£ 


i 


i; 


^ 


^ 


i 


^ 


]f 


■^  1  •> 


^^ 


8  1 

O 


m 


g 


3  13 

A 


n 


:2=:^ 


^ 


^A 


# 


^^^ 


ttf     1  ^ 


^  ?     h 


f 


^ 


* — ' — #■ 


-*— #- 


3 


^ 


A 


^ 


^^ 


[g,)^  i  j  t-f 


>         V      I 


r  p  r  ^' 


t  .-.n~^^ 


tf  tempo 


^ 


A 


Gt. 


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I79II 


204 


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I79II 


205 


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200 


Lesson  N9  95 


CANON  IN  F  MAJOR 

Op.  21    H°  3 


/Sw.    All  8'&4' stops  with   Reeds  8' 
/>repare<Gi  .     All  8'  stops  4  Fl.  4'  (without  reeds)  Sw.  to  Gt 
^Ped.  Foundation   stops  16'&  8',  Sw.4  Gt.  to  Fed. 


Manuals 


Allegru  moderator 


THEODORE   SALOME 

Edited  by  Clarencf   Eddy 


Pedal 


I 


7    f!: 


i 


4 
2 


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1  i 


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17911 


307 


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208 


A. 


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17911 


209 


s.^ti^rti 


I79II 


210 


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P 


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^ 


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2      4 

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s 


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i 


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« 


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1       2      3 


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I79II 


211 


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I79II 


212 


I73II 


213 


Lesson  N9  96 


Theme  and  Variations  in  A  flat,  Op.  34 

ADOLPH  HESSE 


In  the  entire  range  of  organ  literature, 
no  finer  variations  of  a  moderate  grade  of 
difficulty,  can  be  found  than  those  in  A  flat 
major,  and  A  major  by  Adolph  Hesse, which 
are  presented  in  these  Lessons .     It  will  be 
seen  that  great  pains  have  been  taken,  not 
only  in  the  phrasing,  but  in  the  fingering 
and  pedaling  of  this  edition.   In  the  matter 
of  registration  much  has  been  left    to    the 
taste  and  discretion  of  the  individual  player, 


and  yet  the  choice  of  stops  indicated,  which 
is  similiar  to  that  employed  by  Hesse, will 
be  found  quite  adequate  for  the  effective - 
ness  of  each  variation  • 

Emphasis  should  be  made  upon  defining 
each  section  of  the  melody,  and  in  carrying 
out  the  same  plan  of  phrasing  in  all  the  dif- 
ferent variations,  which  is  found  in  the  first 
exposition  of  the  Theme.  For  example,  the 
opening  phrase  of  two  measures,  consists  of  two 
divisions,which  should  be  clearly  defined  as  follows: 


w;g=B^ 


■T- 


S 


v-y 


^ 


^^ 


:^ 


^^ 


Jr^  i 


i 


the  second  note  (Ab  in  the  soprano)  of  the  first 
division  being  played  like  an  eighth  note. 

The  second  phrase  is  unbroken,  although 
the  first  note  in  the  alto  part  of  the  second 


measure  (Ab)  should  be  repeated,  for 
which  reason  attention  is  called  to  the 
particular  fingering  given: 


^ 


S 


gdt 


i 


-2 
45 


I79II 


214 


The  first  note  of  the  next  phrase  must  be   shortened  in  order  to  accent   the  following- 
note: 


In  the  second  part  of  the  Theme  the  shortening  of  the  second  note  of  each  phrase  against 
the  sustained  note  in  the  alto  part, will  add  a  pleasing  variety. 


H  r^ 


J  J  I.J  J 


^-^ 


i 


^^ 


^=r=r=^ 


1 


JtH 


riii  i 


^  jTj  i 


The  first  variation  should  be  played  very 
smoothly,  but  with  a  careful  observance  of  the 
proper  phrasing. 

The   second  variation  consists  of  a  clever 
canon  between  the  soprano  and  pedal  parts, 
therefore  the  latter  should  be  phrased  with 
equal  care,  and  made  a  trifle  more  prominent. 

The  third  variation  (Lesson  N?  97)    in 
triplet  movement,  should  be  played  in  a  bril- 


liant, but  flowing  manner,  with  strong  rhyth- 
mical accents,  and  individual  phrasing. 

The  fourth  variation  in  Gtl   minor,  is  in 
direct  contrast  to  the  preceeding,  and  follow- 
ing variations.   It  should  be  played  very  qui- 
etly, with  a  perfect  legato  touch    and  finish 
of  phrasing.     The  portion  marked  for  Choir 
organ  may  be  played  equally  well  upon  the 
Swell  Manual. 


17911 


215 


The  close  of  this  variation  was  written 
for  the  manuals  alone.     For  g-reater  facility 
of  execution,  but  more  particularly  to  avoid 


the  difficult  reach    of  a  tenth  with  the  right 
hand  in  two   of  the  measures; 


fefcj: 


i 


m 


-O- 


T  rJr    J  r? 


TT" 


It  would  be  far  better  to  g-ive  the  lowest  notes 
to  the  pedals, as  has  been  indicated. 

The  last  variation  is  very  brilliant,  but 
not  excessively  difficult.     It  should  be  taken 
in  a  moderately  fast  tempo,  and  played  strict- 
ly in  time.    The  disposition  of  the  notes  has 


been  changed  and  simplified  in  several  in- 
stances, especially  where  the  notes  assign- 
ed to  the  pedals  duplicate  those  which  were 
given  to  the  left  hand.    The  following  pas- 
sage, as  it  appears  in  the  original  edition, 


if '!>  p  \mfmm 


i 


m 


^^     ^±     bJ^ 


becomes  very  much  easier  of  execution  and  smoother  in  its  performance^if  played  as  follows: 


4    3    2    1 


I 


te 


4    3     2    1 


^^''^W 


IT    <    \r'^ 


i 


=5 


fck 


•'>'i>  v-£tf  ^ 


^f: 


<Ji 


■  £tf  y-  ££e  ,•■  £  y  ,-  f:^ 


■■^fT^P 


^ 


i 


5   3    2 


5       3     2 


m 


m 


^ 


I79II 


aiG 


THEME  AND  VARIATIONS  IN  A  FLAT 


Opus  34 


-Sw. 
JGt. 

^Ped. 


Open  A   St.  DiapasonsS'and  Salicional 
Flute  &   Gamba  8',  Sw.  to  Gt. 
Melodia  4  Dulciana  8',  Sw.  to   Ch. 
Soft  16 '4  8'    Sw.4  Gt.to  Ped. 


ADOLPH  HESSE 
Edited  by  Clarence  Eddy 


Manual 


3  4 

1 


2  I 

1  2 


H"^ 


off  Open  Diap. 

ad  lib. 

2 

1^ 


i  i-~i  J  J  >-:^ 


i V 


^ 


2  1 

—  2 


I79II 


217 


ri  3  4 

1  -  1 


45  4         3       4 

1  -  -i         I        -i 


Draw  the 
Open   Diap. 


5        4 


^ 


^W 


jl 


s 


^ 


^^ 


^ 


r 


-o- 


:i:^ 


-S^A 


iz 


U. 


g 


^ 


^^^ 


u^    2     1    T 


f 


f= 


^ 


5  28 


i     r 


45 


31 


31 


^g 


VAR.  1 

(Add  4'  stops  to  the  Swell) 


A   o 


^^ 


^ 


tji^    i^i^     « 


^ 


^ 


o 


r 


iii  ^o 


i^^v^^SSi^ 


A  A 


A  A 


^ 


fct 


-O- 


A 


A 


I79II 


21S 


fe 


po'  


7  r  w 


1 


W  ^m    P 


i 


fe 


rrrjf  f  ? 


#  p  #  ^ 


^ 


■1.;  f  ;  ^  ^> 


J  * 


fff't^i\ 


m 


^ 


5 


}      11=  f     c_^ 


A        o     I  A  o      A 


:g:r-77 


^ 


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^ 


*     * 


^ 


T 


in 


A 


-^ni-i>  T    ^r 


m 


^ 


^-j^=^ 


0-^ 


rrrrr  r 


i=^ 


^ 


S=F 


S 


^^i 


A    A       o 


A A 


^ 


A-A 


O  A  A 


W  m  W 


J-'i-^fLL; 


^^ 


e=it^ 


^'v     r  IP 


A       -  A    °   '^^     °        A 


A         A 


A^  J  ^J  ^  ^ 


']     l./^- 


f           3     s     ■:       :h      4      5      4 
— ^^ '  ' 


J  bJ  t]J  i^*    < 


24 


^ 


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24 


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^_     I      at 


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^ 


¥?^ 


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r 


f 


rit 


>>:J.,,^F. ^fV^I^ 


^r  >  f'r^' 


^ 


^ 


5 


^ 


TT 


A 
-iS>- 


A  o      /\    o  ^      o  A 


^ 


a 


I79II 


219 


YAR.  3 


Pfe^^ 


J=J. 


^ 


«»o- 


-o- 


Sw.  /8'&  4' (box  closed) 


^^ 


-t>- 


±^J 


m 


~i 


^ 


9w^ 


(Take  off  Gt.to  Fed.) 


T        A         o      A 


f-f-te:r 


3 


■«»■ 

A 


o         A 


I79II 


220 


Lesson  N9  97 


Theme  and  Variations  in  A  flat,  Op.  34 

(Continued) 


Gt.  8'&  4' with  Full  Swell    (box  open) 
add  Fed.  Open  Diap.l6' 

w._  jindante  {d-.io6) 

YAH. 3  -^       ^        1^ 


^ 


W^ 


^ 


m 


mJTOiJi^ 


*  2  ;^_ 


ADOLPH  HESSE 


15     4    3 


mgg 


OT? 


-t- 


.?       ..?. 


Gt.' 


\f 


^ 


i 


^^^^i^n 


^ 


i'ii 


r  — f^pr  f^ 


l,V<''    1^. i 


2 

A. 


1  2 

4  - 


^g^ 


i 


±*: 


_o A_ 


^ 


^ 


i 


fc^ 


Ag=^ 


^cir  dirf- 


w 


y=^ 


was* 


^>-lUJ 


fliSj  m 


^ 


iii    G 


a~~^j    if3 


^ 


i 


5^ 


p 


A     o  A       A  o  A 


.  ■   I ^  "  ^ — /^ "  A — rr«i  ■    I 


A 


^ 


5     4         5 


A 


^  Vd 


I  79  I  I 


221 


i 


kUll    I^— 


& 


3      2 


^cLr^cJrSri 


*         2    *    ,  ,4 


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■fvitrf  rr 


i    I     e^ftit 


£ 


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T        X 


A         o 


[^r_lrir      ^ 


^ 


A  A-A 


# 


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-J 


v^"it-  r  T  r 

1—1 

3  4  5 


s 


^ 


^^ 


U     l>i 


^ 


^gf 


7^         — 


A- 


o    A 


^ 


1  2 


Jii 


^^ 


S^ 


i 


12       13         2 


S^ 


ir 


^ 


24 


12       3     2        1 


iEEi 


W2. 


J*  f  y  r  l> 


¥r^ 


r^p 


i^i-.i 


rji 


y^ 


^Fporr^rfrrr  fEJ 


^ 


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];j]"yi"^pP 


5        4       5 


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3^  1 

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ftfcf= 


A 


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3  1 

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I79II 


322 


VAR.  4 

Reduce  Swell  to  Soft  Flute  &  Strings  with  Vox  Cele»ti» 
Reduce  Pedal  to  Bourdon  16' 

Andatite  (d: 'a^)  

4 


3 


i^ 


4  5  4 


^^ 


f 


r    Ui 


Sw.< 


P 


% 


J=^ 


i=fc 


^ 


^ 


33: 


L;  r   *r 


=f!== 


P 


W 


off  Gt.to  Fed. 


^Pp 


45 


5        3        4 
1-2 


f^ 


^ 


,Ch 

4      (     4 


'k 


s 


fci 


e^=^ 


T  i 


=?- 


-Si 


it^  r  ttr  r 


3S 


» 


# — (► 


^^ 


* — » 


f 


2  13       12  4        2       5  2 


Ch.to  Fed. 


§16 


^i 


^M 


U     i    J     J 


^ 


^?^ 


A 


o      A 


^      o 


o_A 


^^o 


I79II 


223 


17911 


fe 


VAR.  5 

(J:  69) 

Full   Gt.  Sw.Sr  Fed, 
2 


4 
3 

1 


5  4 


^ 


f 


•n'-iH-fhrrrrrg 


^ 


hLn/Lli 


2      3      2       13 


4      1      3 


^ 


^^ 


225 


I79tl 


226 


Full  Organ 


* 


.sT^ 


-^ 


I7V  .rr^rrr^rrr  *^^*i 


5' ^-5 

a_        2     3 


s 


^ 


p  ?"'  > 


? 


r  r  r  ^f  r  r  r 


# # 


\ 


M 


SE 


tE3E 


^^ 


y4 


:i^  A A- A- A 


If^ 


^^=r 


^i 


J 


A 


=t^ 


lq^^=¥= 


1        3      T 


^ 


5EE 


» — # 


l|J   ^   * 


'LL7t_LLj 


a 


^e 


^ 


7   f   f  -i» 


4         5 


i 


'n"i>  J     J 


#         • 


I 


k* 


S 


^ 


I 


a         1 


1         i  2       1         2        1 


^ 


# ♦ 


# — r — 1^ 


•    ^   • 


CJlLT  LIU 


^I    kJ 


-J 


# pt^ 


^ 


# — a — (^ 


LLU^inj: 


^M 


& 


^^ 


J  J  J  iJ  J  ^   J 


rti 


-2        1 


i 


I 


^=F=r 


g=^ 


E*E^5 


df    *    4 


^ 


-^ 


i i 


bi 


f-r  r  f  i)f  r  r: 


I 


% 


^ 


jEEEi 


•/bS>  J     i     l^ 


2  3     r 

5  A     ^ 


i  ^r^r--    r^~T  4    ^1 


^r=^ 


J    IJ    ^  c  ?^^ 


A" 


I79II 


227 


Lesson  NQ  98 

Introduction,  Theme    and  Variations,  Opus  47 

ADOLPH  HESSF 


In  this  composition  the  famous     German 
organist  has  shown  perhaps  his  greatest  skill 
as  a  composer  and  virtuoso.  It  is  not  only  fas- 
cinating for  the  player,  but  of  unusual  interest 
to  the  listener. 

The  introduction  should  be  played   in    a 
very  broad  and  majestic  style,  and  with    spe- 
cial pains  in  attacking  the  chords,  and   other 
voice-parts  precisely  to-gether. 

In  defining  the  phrases  care  must  be  tak- 
en in  releasing  the  final  notes. 

The  fingering  and  pedaling  demand  care- 
ful study,  in  fact  nothing  can  be  well    done 
without  taking  "infinite  pains." 

The  original  and  very  beautiful    Theme 
is  similar  in  form  to  the  one  employed  by  Hesse 
in  his  Variations  in  A  flat  (Lessons  96  and  07), 
and  it  should  be  phrased  in  the  same  finished 
manner.  This  movement  is  marked  Allegretto, 
but  it  should  not  be  taken  too  fast;namely  about 
60  for  the  quarter  notes,  that  is, neither  hurried- 
ly nor  sluggishly.  A  slight  ritard  maybe  made 
at  the  final  ending  only. 

The  first  variation  should  be  taken  in  ex- 
actly the  same  tempo  as  the  Theme,and  played 
in  a  very  smooth  and  peaceful  manner,  like  a 
deep  flowing  river. 

The  second  variation  may   be    played   a 
trifle  slower,  in  order  to  permit  as  much  free- 


dom of  expression  as  possible,  the  theme  being 
"brought  out"  upon  the  Swell  organ    with  an  ef- 
fective 8'reed  like  the  Cornopean,  or  other  ex- 
pressive reed  stop.  The  pedaling  has  been  in- 
dicated with  reference  to  the  possibilities  of  this 
expressive  feature.  It  is  needless  to  add   that 
the.  phrasing  in  this  variation,  should  be  done 
in  the  same  manner  as  was  given  to  the  first 
announcement  of  the  Theme,  and  that  the  ac- 
companiment requires  the  same  careful  treat- 
ment. 

The  third  variation   should  be  played 
with  great  animation  but  perfect    clearness, 
the  rhythm  being  well  defined    by    means  of 
sharply  accenting  the  triplet  figurations  and 
short  chords  upon  the  manual,  while  the  ped- 
als are  played  very  legato,  for  example; 


The  fourth  variation  in   A  minor  should  be 


I79II 


228 


played  very  quietly  (about  72  for  the   eighth 
notes), with  soft  8  ft.  stops  on  the  Swell  manual 
and  one  soft  16ft.  stop  on  the  Pedal.  If  the  or- 
gan should  not  possess  a  Vox  Celestisas  call- 
ed for,the  St.  Diapason  and  Salicional    should 
be  used  with  the  Tremulant,  and  at  the  begin- 
ning of  the  Adagio  (last  three  measures    of 
this  variation)  the  Stopped  Diapason    should 
be  thrown  off. 

The  Finale,  or  fifth  variation, designed  for 
Full  organ,  requires  a  very  brilliant  and  facile 
execution,  both  upon  the  manuals  and  pedals. 


Orig"inal    edition 


Do  not  take  the  tempo  too  fast  however.but   at 
about   96  metronome    for    the  eighth  notes. 
With  promptness  in  attacking   and   releasing 
each  key,  this  tempo  will  insure  the  desired  an- 
imation and  clearne'ss  of  execution.  Great  care 
has  been  taken  in  dividing  the  manual  parts,  so 
that  they  may  be  played  with  perfect  facility 
and  smoothness. 

Note  for  example  the  difference  in  finger- 
ing of  the  following  passage  in  the  original 
and  revised  editions: 


Revised  edition 


^ 


r^:ii  ^ 


The  chords  at  the  close  of  this  variation 
should  be  played  in  strict  time  and  exactly  to- 
gether. Be  particular  also  to  give  the  interven- 


ing rests  their  full  value.    The  composition 
ends  quietly   with  the  theme, reproduced  in  its 
original  simplicity. 


179!  I 


229 


INTRODUCTION,  THEME  AND  VARIATIONS 


Opus  47 


Prepare  < 


Sw.   Full  (Box  open) 
|Gt.    Fulltol5'Sw.  toGt. 
Ch.    Melodia  A  Dulciana  8' 
Ped.  16'.%  8'  (without  reeds),  Sw.&  Gt.to  Ped. 


Manua] 


Pedal 


Introduction  . 

Anclanie(4zh8) 


'>h^'i  C 


i 


ADOLPH  HESSE 
Edited  by  Clarence  Eddy 


t 


A'^ 


I79II 


830 


u 


sGt.Cadd  FullGt.) 


m 


't — 0- 


f 


J 


^g 


11 

m 


inn\^ 


^^ 


^ 


I7SII 


2H1 


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t 


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^=^ 


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^ 


Gt. 


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2z: 


17911 


233 


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rit. 


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2=_j3 


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^ 


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i 


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I73II 


Lesson  N9  99 

Introduction,  Theme  and  Variations,  Op.  47 


233 


(Continued) 


/Sw.   to  8'4  ■I'without  reeds 
Reattce<Gt  .    to  Diapasons   8' 

'Ped.  to  Bourdon    &   Soft  8' 

Allegretto  (J:60) 


Manual 


Pedal 


ADOLPH  HESSE 
Edited  by  Clarence  Eddy 


I  "  i  V- 


■M|iii  r  r  r  *f  P^ 


^g 


I79II 


234 


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4 


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35 


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1  2 


8           5          4  3 

2  1 


5  4 


itii^i  -n  i) 


1  35 


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ni 


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a 

35 


2 
35 


^ 


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I79II 


235 


YAR.  1 


feti 


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179 II 


236 


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J  1^  i|j  J  iJ=Hail 


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->-  ^i'  Y  r  r  r 


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1 


I79II 


237 


Reduce   Sw.  to  8'  Foundations,  and  draw  Cornopean,  or  other  8' Reed 
off  Sw.  &  Gt.  to  Fed. and  draw  Ch.to  Fed. 


YAR.2    J, 5, 

Ch.      4| 


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A 


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A. 


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I79II 


238 


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5  5 


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m 


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p  r      p— 


r 


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*: 


1 


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i 


^ 


V'VlM 


^ 


s^:^ 


^ 


Ao      A 


OaL 


§ 


4 

2 
I 


2 
3  1 

.1 


^  })  M* 


4  Si 

2,- 1— ^ 


S 


S 


?«=:*: 


^^=f=? 


tt:fti 


^ 


ft 


^ 


2         1 


I79II 


239 


Lesson  N9  100 


Introduction,  Theme  and  Variations,  Op.  47 

(Concluded) 

PreparelGt.      8;4'&  2'   (Sw.  to  Gt.) 

^Ped.     16'A8'  (Sw.  &  Gt.to  Fed.) 


,Sw.     Full 


VAR.3 


ADOLPH    HESSE 
Edited  by  Clarence   Eddy 


(J-- 


(J  --  108) 


?  ,y_l     s^-y 


^%=g 


Manual 


Pedal 


^°— J?^-ffl^iS 


.? 


12 


3 


I79II 


240 


u 


3 


r=*^^ 


^ 


ai  1  a  1 


^ 


4^ 


i^l  V'  ^ 


m 


W 


^W^H^ 


.y  .y 


^g 


ft 


^fi^ 


n.P..r 


1       3      2    12    3 

5- 


Ai^  A     o    ^o^^^    o  ^A 


I79II 


241 


Reduce   Sw.to   St.  Diap.  Salicional  and  Vox  Cclesti* 
"AR.4  and  Fed.  to  Bourdon  16/ with  Sw.to  Fed. 

(J  :  72) ^ ^ 1        "* 


A      o 


I79II 


242 


Adagio 


17911 


243 


VAR.5 


Full  Gt.  «•  Sw.   (coupled)  with  Full  Pedal 

2 


I79II 


244 


I79II 


245 


■M  TOHTIji 


^E? 


^F^ 


#: 


* 


# 


:« 


i 


^ 


4        1      3     -  3 


#=t= 


4  3 


5  4      3 


Si 


^E 


? 


A    o 


m  r  m 


A         o    A 


? 


^^ 


(24  time  o) 


I79II 


240 


tranquillo 

off  Vox  Celestis 


inolto  rit 
off  St.Diap. 


I79II 


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